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The 29th Busan International Film Festival
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[BIFF Press Release] The 29th Busan International Film Festival Final Report
Press Service The 29th Busan International Film FestivalFinal Report
2024-10-12
[BIFF Press Release] 2024 CHANEL X BAFA Celebrates a Successful Graduation Ceremony
Press Release | 2024.10.112024 CHANEL X BIFF Asian Film Academy Celebrates a Successful Graduation
2024-10-12
[BIFF Press Release] The 29th BIFF Announces 'Busan Vision Awards' Winners!
Press Release | 2024.10.10 The 29th BIFF Announces 'Busan Vision Awards' Winners! T
2024-10-10
p!tt GROUND
29th BUSAN International Film Festival
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[BIFF 2024] Daily Newsletter No. 10 (Oct 12)
2024-10-12
[BIFF 2024] Daily Newsletter No. 9 (Oct. 11)
2024-10-11
[BIFF 2024] Daily Newsletter No. 8 (Oct 10)
2024-10-10
Selection
BIFF 2024
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A Window on Asian Cinema
To Kill a Mongolian Horse
City/Urbanization
Human Rights/Labor/Social
Once the top horsemen, friends Saina and Hasa now perform in traditional horse shows to make a living. Unlike Hasa who sells all his horses and sheep after deciding to move to the city, Saina tries to hold on to his beloved horses, shuttling between his farm and the performance arena. But this winter, which came late due to global warming, feels unusually harsh following a drought. With his father’s gambling debts and drinking problem, as well as his separation from his wife, nothing seems to be going Saina’s way. Director Jiang Xiaoxuan, born and raised in Inner Mongolia, cast her friend who was a horseman for her film, which depicts the lives of Mongolians pushed out from the grasslands to the cities and from the cities to tourist spots. The plaintive image of him riding a white horse with a bottle of liquor in hand, straddling the yellow centerline of a road filled with cars, lingers long in memory. (CHOI Eun)
Wide Angle
Escape Velocity
Family/Child
Women
Jaehyeon, who works at a bike shop, learns that the owner of a motorcycle that was left unclaimed for several months has died in an accident. He delivers the bike to the man’s widow. What follows is a beautiful ride shared by two people, each grappling with the vast and immeasurable gap between “hard to accept” and “impossible to fathom” in the face of tragedy. (KANG Sowon)
New Currents
Montages of a Modern Motherhood
Family/Child
Women
Jing’s day begins with a graceful tracking shot that follows her from the early morning as she pumps breast milk, leaves her baby with her mother-in-law, and heads to the bakery where she works. Her baby daughter Qing is difficult and cries constantly and Jing frequently clashes with her live-in in-laws over childcare and housework, while her husband, who works as a delivery driver, views parenting as something he occasionally helps with. All she did was have a child, yet Jing’s life is turned upside down, leaving her in a situation where all her efforts to build her career have been negated. Director Oliver Siu Kuen Chan meticulously dissects Jing’s struggles, revealing the emotional turbulence she endures. The film’s realistic and precise narrative depicts the suffocating oppression women suffer within both family and society, the pressures of ‘being a mother’ and ‘motherhood,’ and resolutely move forward, forcing Jing to make a final decision. (PARK Sun Young)
World Cinema
Julie Keeps Quiet
Crime/Violence
Coming of Age
Women
Julie is a promising tennis player at a tennis academy. Just before the Belgian Tennis Federation (BTF) scout test, an unfortunate incident occurs at the academy. After the suicide of another teenage prodigy, Aline, an internal investigation begins, and head coach Jeremy is suspended. People suspect that Julie, Jeremy’s favorite student, might know something and hope she will testify. However, Julie remains silent, focusing solely on her practice. The film carefully builds the drama around this sensitive incident, leaving the specifics of emotional domination and abuse that can occur between a teenage female athlete and an adult male coach largely unstated. Through her silence, the violence of pressuring Julie to speak out is suggested. Meanwhile, Julie slowly comes to understand how she should act. The Dardenne brothers participated as co-producers. (LEE Juhyun)
Wide Angle
threefor100: or the thrifting of love and various other things
Comedy/Satire
A bored employee in a thrift store gets scolded by the owner for not being proactive enough. Even the fish in the tank are watching the drama unfold. (PARK Sungho)
Wide Angle
Magic Candies
Family/Child
Remake/Adaptation
SF/Fantasy
Food/Beverage
Comedy/Satire
Animation
The internationally renowned author Baek Heena’s picture book
Magic Candies
has been adapted into a short animation by Japan’s major film studio Toei Animation. This is a rare opportunity to experience Baek Heena’s exceptional imagination, whose original work was close to an animation itself. (NAM Dong-chul)
* Based on Korean Picture Books
Magic Candies
&
I am a Dog
by BAEK Heena (Korean author)
Wide Angle
Lao San
Family/Child
Lao San
is about a boy named Erguang in a rural village, whose father is absent and mother plans to go to the city for work. He has to move to his aunt’s home while he is only obsessed with finding his friend. (PARK Sungho)
Wide Angle
So Long
Coming of Age
Guillaume Brac, whose career started with stories of the previous generation, now seeks change and balance. While his youth-centered drama
All Hands on Deck
(2020) and documentary
Treasure Island
(2018) form a pair, the women-centered
July Tales
(2017) and
So Long
are their antithesis. Yet unlike his previous films, which evoke summer and freedom, this documentary has the scent of autumn despite its summer setting, as it focuses on the time of students just before graduation. The teacher’s line that opens the film—“Express yourselves freely”—also reflects the film’s tone. With an affectionate gaze, the camera stays close and calmly observes the students at a pivotal moment. The present of these students, in their world of classes, outdoor activities, and boarding rooms, forms the axis between their past and future. Will the friends who are sad to part be able to meet again? That is a question for the future. Now is time to say goodbye. (LEE Yong Cheol)
Midnight Passion
Do Not Enter
Psychology/Mystery/Suspence/Thriller
Religion/Spirituality
Two working class youtubers ‘in the making’ enter an abandoned mansion to get their basketball back, and get lost inside while pranking each other. They record their ‘quick adventure’ with their phones for their audience, and tweak it with a fake phantom appearance to attract more followers to their YouTube channel. When uploaded the video goes viral, so they start a challenge: if the video reaches a certain number of views, they will enter the house again, at night, alone, totally unprotected. As fans react positively, they will do as promised, not only to discover and unveil the true nature of the place and their inhabitants, but to realize they might not be among the living anymore. Which opens a question - how far would you go to be famous?
Icons
The Room Next Door
Travel/Road Movie
Women
Art/Artist
There are several journeys in
The Room Next Door
. The first is the journey of Pedro Almodóvar, who is now considered synonymous with Spanish culture, to the United States to make his first English-language feature film. The filmmaker still captivates audiences with his aesthetic sensitivity and scripts full of secrets. The second is a journey towards death, where a woman asks her friend to accompany her in her final moments. The last is an aesthetic journey; through captivating colors and the still image of female characters, the director leads us into a world reminiscent of Edward Hopper’s masterpieces. World-renowned actresses Julianne Moore, playing the role of the bestselling author, Ingrid, and Tilda Swinton as Martha, who suffers from an incurable disease, form a wonderful ensemble. Julianne Moore’s deep eyes, unfathomable as the abyss, convey all the emotions of the world—love, wonder, compassion, admiration, and sorrow. Director Almodóvar offers Tilda Swinton one of the best roles of her career with the luminous yet fragile character of Martha. With
The Room Next Door
, a melodrama dealing with illness and death in a serene manner, the Spanish master adds one of the most beautiful films to his filmography. (SEO Seunghee)
Icons
Meeting with Pol Pot
Remake/Adaptation
True Story
Politics
Human Rights/Labor/Social
In 1978, in Cambodia under the Khmer Rouge, three French journalists arrive in this isolated and completely unknown region. They have been officially invited by the government to report on the reality of Cambodia and to interview Pol Pot, the leader of the Khmer Rouge. However, as their reporting continues, they begin to sense that something is profoundly wrong in this society, and they start to see things differently.
An official selection at this year’s Cannes Film Festival, this film is inspired by true events. The actors’ live-action performances, combined with black-and-white archival footage and the director’s signature clay puppet scenes, create layers of representation and amplify emotions. What are the “ideals” and “revolution” of Pol Pot and the Khmer Rouge, and who are they for? Through the eyes of journalists, director Rithy Panh confronts the heartbreaking past and asks these questions. (BOO Kyunghwan)
Korean Cinema Today
Spring Night
Love/Romance
Director Kang Mija, who gained attention with
Let the Blue River Run
(2008), has released her second feature film after several years. Based on the eponymous short story from Kwon Yeo-seon’s collection
Good-bye, Drunkard
, the film tells a tragic and pure love story between Yeong-gyeong, a severe alcoholic, and Su-hwan, who suffers from severe rheumatism. While the film is adapted from the short story, it has been crafted as a poetic work. Narrative context and explanations are largely excluded, and instead, the film features raw, powerful, and even surreal shots that repeat in a rhythmic, poetic manner. The emphasis on scenes of excessive drinking, indifference, and endless waiting evokes a profound sense of pain.
Spring Night
is a film that evokes intense agony, leaving viewers with a lingering sense of suffering. After watching, we, too, might feel as though poetry wells up inside us, or perhaps we, too, find ourselves crying beneath the blooming magnolia tree. (JUNG Hanseok)
Event
2024 Festival
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Actors' House
SUL Kyung-gu
12:00 (KST), Oct 3 (Thu)
Master Class
The Golden Era of Ann HUI
19:00 (KST), Oct 3 (Thu)
Actors' House
PARK Boyoung
18:00 (KST), Oct 4 (Fri)
Actors' House
HWANG Jung-min
20:00 (KST), Oct 4 (Fri)
Master Class
Miguel GOMES, a filmmaker of Joyful Melancholy
14:30 (KST), Oct 5 (Sat)
Actors' House
CHUN Woo-hee
19:00 (KST), Oct 6 (Sun)
Master Class
KUROSAWA Kiyoshi: At the forefront of genre cinema
10:30 (KST), Oct 6 (Sun)
Event
2024 Festival
Event
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The Kinder Programmer
Recommendations
from this year's selection
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The Kinder Programmer
The Kinder Programmer :
Programmer Karen PARK
Presenting The Kinder Programmer: The Kinder Programmer is a project designed to bring to our audience members and subscribers recommendations from this year's selection, hand-picked by BIFF's very own programmers. Programmer Karen PARK We are living in an age of chaos. Cinema, more than any other form of art, is sensitive to the world surrounding us. Through the images portrayed on the screen, we empathize with people on the other side of the globe, question why the same issues are
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