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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
Selection
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World Cinema
The Damned
Politics
Action/Martial Arts
History/War
Minervini, who achieved success with three documentaries, made a comeback with a drama and won the Best Director award in the Un Certain Regard section at the Cannes Film Festival. He has dug into the soil of American society through the eyes of the other, and in
The Damned
, he seeks fundamental reflection from the period of the Civil War. His approach to filming remains the same, making the movie appear as if it were a documentary shot in 1862. A scouting party sent to the frontier finds their faith tested in an unknown land. Believing that God is on their side, the scouts face an incredible irony, which rises from a situation where an invisible enemy is constantly imagined, and Minervini gets to the root of the question. The film, with only a 7-minute shooting sequence, is more like a re-examination of the Western genre than a war historical drama. The hero who led the cavalry and the community has vanished, leaving a few disoriented and exhausted soldiers wandering through the wilderness and snowfields. It is a thoughtful Western film that falsifies the western myth of white settlers. (LEE Yong Cheol)
New Currents
MA – Cry of Silence
Crime/Violence
Women
Human Rights/Labor/Social
History/War
MA – Cry of Silence
is a story about Mi-Thet, an 18-year-old woman. She becomes the head of the household in Myanmar, a country that has gone through a humanitarian crisis following a coup d’état, experiencing the collapse of her community and family. As the military systematically destroys rural villages under the pretext of eliminating resistance forces, young people flock to the cities. Mi-Thet gets a job at a garment factory with others in similar circumstances and leads a life commuting between the dormitory and the factory. Enduring frequent blackouts and the constant sound of gunfire, she suffers from poor meals and demands for overdue rent but persistently continues to send money to her family. In this precarious existence, non-payment of wages becomes a significant crisis in her life. Her colleagues, who are fed up with sexual harassments and unpaid wages, go on strike, but Mi-Thet hesitates to join them. Thus, her youth, which should have been bright, becomes marked by darkness and bitterness. (PARK Sungho)
Wide Angle
The Last Day
Human Rights/Labor/Social
The Last Day
is the story of a mother whose son is in prison. While they console their grief by sharing the last meal she brought, outside the room, bored prison staff are preparing the execution. (PARK Sungho)
Wide Angle
K-Number
Family/Child
True Story
Politics
Human Rights/Labor/Social
Mioka Miller, with K-Number 723915, has visited Korea multiple times since 2008 in search of her family, but each attempt has ended in failure. She was found on the streets in 1974 and later adopted by an American family. But she wasn’t an orphan, nor was she abandoned—so why was she sent to the United States? The film
K-Number
is titled after the identification numbers assigned to children sent for adoption. It follows Mioka’s search for her birth mother with the help of ‘Banet’, a group that aids overseas Korean adoptees find their roots. The documentary takes viewers through various institutions, from Holt Children’s Services to record offices and community centers, as experts provide testimony and countless documents are examined, uncovering the harsh realities behind terms like “home shopping babies,” “state-sponsored human trafficking,” and “sweeping away disadvantaged children.” The long process of facing the truth is presented at a brisk and determined pace. Director Jo Seyoung’s camera is relentless in its pursuit of the truth, while remaining by the side of other Miokas who are still seeking answers in Korean society. (KANG Sowon)
Wide Angle
My Stolen Planet
Family/Child
True Story
Women
Politics
Narrated in the form of a reflective diary, the documentary has two main parts. One is about resisting the power that demands forgetting by remembering a free past; the other is about documenting the past and present struggle for women’s freedom. To do this, the director captures a free and happy past via personal footage and super 8mm film footage collected from the streets, and reconstructs the past and present of women fighting to reclaim a world that has been taken away from them, focusing on the 2022 anti-hijab protests. In doing so, it shows that the hijab is not just a meter-long piece of fabric, but a symbol of power that seeks to control people’s daily lives and desires. This is a “homemade history” of Iranian women, documenting their reality, their past and present history, and the battle between memory and oblivion. (JO Ji-hoon)
Wide Angle
Soundtrack to a Coup d′Etat
Music/Dance
History/War
Soundtrack to a Coup d’Etat
relentlessly tracks a hidden segment of Cold War history with rhythm and insight. What connection might there be between Louis Armstrong and uranium, the primary material for atomic bombs? The film recalls a seemingly plausible ‘60s musical project that brought legendary jazz musicians like Louis Armstrong, Dizzy Gillespie, and Duke Ellington to Congo. It reveals that behind the pacifist behavior of these “jazz goodwill ambassadors” was a CIA conspiracy to sway public opinion. In this political thriller-musical, the director uses music not merely as a soundtrack but as a political core character, giving rhythm and structure to the film. In this film, Johan Grimonprez presents another new way of writing history, by seamlessly weaving together a vast array of archival footage, Lumumba’s speeches, home movies, excerpts from history books, and interview recordings with the rhythms of rumba and jazz. (SEO Seunghee)
Korean Cinema Today
Tango at Dawn
Women
Tango at Dawn
tells the story of three women. Ji-won, who is clear-cut and straightforward, is hiding out and securing a job at a factory after being swindled by a friend; Ju-hui, Ji-won’s roommate, who is kind to everyone and always remains optimistic; and Han-byeol, who started working at a young age, became a team leader, and is quite selfish and irresponsible. One day, an accident happens to a fellow worker, and the reactions and solutions offered by these three women involved in the accident are remarkably different. The emotional tension arising from their differences, and the profound impact that transcends that tension, becomes increasingly powerful through the film’s multidimensional character development and subtle emotional buildup.
Tango at Dawn
poses careful questions about the failure and restoration of relationships, and serves as an intriguing example of personality and fate, ultimately becoming a poignant elegy for the loss of something precious and beautiful. (JUNG Hanseok)
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)
Jiseok
Yen and Ai-Lee
Family/Child
Crime/Violence
Women
The film begins with a striking scene: a woman, bloodied and battered, appears in a quiet village alley late at night and stares directly into the camera. The scene then shifts to Yen’s reunion with her mother, Ai-Lee, after serving eight years in prison. Ai-Lee, who runs a small grocery store and sells lottery tickets, is blunt and direct, while Yen, feeling unfamiliar with life outside of prison, remains emotionally reserved. Tensions rise when, one day, Yen’s much younger half-brother arrives, upsetting the fragile balance between Yen and Ai-Lee. Director Tom Lin Shu-Yu calmly unfolds the story of Yen and Ai-Lee from each of their perspectives in black-and-white, slowly leading to the moment where they begin to embrace each other. Intense performances by Yang Kuei-Mei and Hsia Kimi breathe life into this tense, love-hate relationship between mother and daughter. (PARK Sun Young)
On Screen
Way Back Love
Love/Romance
Coming of Age
At 24, Heewan (Kim Minha) struggles to find hope and the will to live. Then, her first love, Ramwoo (Gong Myoung), reappears after six years—but as a grim reaper. Ramwoo warns Heewan of her impending death and proposes that they spend her remaining week fulfilling her bucket list. Thus begins their week-long journey. The story traverses between their playful high school years and the present, weaving together a time-traveling adventure, a connection between the living and the dead, and a mix of secrets and love in this fantasy coming-of-age romance. Gong Myoung and Kim Minha gradually build the tender and poignant emotions of their characters. Directed by Kim Hyeyoung and Choi Hana, the talents behind two impressive debut features
IT’S OKAY!
(2023) and
More Than Family
(2020), with creator Roh Deok, known for her unique genre style, this drama offers everything from wit and depth to genre appeal. (JEONG Jihye)
Icons
Youth (Homecoming)
True Story
Human Rights/Labor/Social
From 2014 to 2019, Wang Bing filmed workers in the Chinese garment district of Zhili in Huzhou, Zhejiang Province. In 18,000 workshops, 300,000 migrant workers who have left home to toil for low wages, working 15-hour days.
Youth (Homecoming)
is the third chapter in the trilogy of films that follow the workers in the workshops of Zhili, following
Youth (Hard Times)
. In 2016, the workers return home for the Spring Festival. Mu Fei and Dong Mingyan embark on long journeys to visit their parents and relatives, bearing gifts, yet they worry about the future. Shi Wei and Liang Xianglian return to their hometown in the mountains to hold a traditional wedding. Chen Qingtao returns home alone and eats with his parents in silence. Fang Lingping heads home with her husband. Each to their own home, and then back to Zhili. In 2018, during the Spring Festival, Lin Shao and Chen Wenting visit home for the first time after their wedding and the birth of their child. Everyone returns home. Yet late at night, a man remains in an empty factory, working alone. It is the Lunar New Year. (JUNG Sung-il)
Wide Angle
Ainu Puri
Family/Child
True Story
Food/Beverage
Environment/Nature
Shige, an indigenous Ainu person from Shiranuka, Hokkaido, goes Marek fishing with his 10-year-old son Motoki. After praying to the gods dwelling in all things, he skillfully catches a large salmon, which he then prepares for that evening’s meal. The daily life of Shige’s family unfolds like a meticulously crafted narrative film. Rather than highlighting the struggles of the Ainu, who have long lost their territory and now their language, and have faced discrimination,
Ainu Puri
focuses on the strength and beauty of Shige and Motoki’s life together. Director Fukunaga Takeshi avoids exoticizing or othering the Ainu people and instead captures their journey with a natural, fluid narrative that leads to a certain conclusion. The film’s intelligent and thoughtful gaze creates intriguing shots that evoke a cinematic sense in this modern ethnographic study. (KANG Sowon)
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 PARK Sun Young
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 PARK Sun Young Hello! Just as the stifling heat of the summer starts to fade and a hint of coolness weaves into the breeze, I find myself once again writing my manuscript for ‘The Kinder Programmer.’ I am Park Sun Young, a programmer in my sixth year, feeling th
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