Special Program in Focus:

Defining Moments of Asian Cinema

‘Defining Moments of Asian Cinema’ is the third iteration of ‘Asian Cinema 100’, first launched in 2015 to mark the 20th edition. Revisiting the evolution of Asian cinema and exploring the systematic analysis of cinematic significance, the special program is based on a comprehensive survey of global filmmakers, critics, and scholars, capturing the aesthetic value and historical trajectory of Asian cinema. Following the release of the Best Asian Films in 2015 and the Best Asian Films by Female Directors in 2021, this year’s survey engaged 161 figures from 34 countries, including directors, producers, actors, critics, professionals, and festival programmers. A total of 119 films (including tied rankings) were selected, with 10 titles officially invited for screening at the festival. The full list of curated films will be available on the BIFF official website.

Starting with This Is Not a Film by Jafar Panahi, recipient of the 2025 ‘The Asian Filmmaker of the Year’, and Marziyeh Meshkiny, director of The Day I Became a Woman, who won the New Currents Award in 2000 for a bold vision as an Iranian female director, both filmmakers are coming to meet Busan audiences. Chinese masters will also showcase their pivotal works, including Jia Zhang-Ke for Still Life, capturing a powerful portrait of China’s rapid transformation; Tsai Ming-Liang for Goodbye, Dragon Inn, a representative Taiwanese New Wave director’s cinematic explorations of time and space; Wang Bing for Tie Xi Qu: West of the Tracks, sensing Chinese working-class lives in an extended documentary format; and Johnnie To for Election, a distinguishing work by the maestro of Hong Kong noir film. From Japan, Drive My Car by Hamaguchi Ryusuke, which garnered the Best Screenplay at Cannes 2021 will be screened. Nobody Knows by Kore-Eda Hirokazu will be introduced by Yagira Yuya, winner of the Best Actor at Cannes. Korean cinema is represented by Burning by Lee Chang-dong, an adaptation of Murakami Haruki’s short story, which built a global reputation, and Old Boy by Park Chan-wook, who was named ‘The 100 Best Movies of the 21st Century’ by The New York Times. Together, the selection illustrates the diversity, historical depth, and artistic richness of Asian cinema, heightening anticipation for this year’s celebration.

In conjunction with the program, BIFF will publish a commemorative book featuring all 119 films (including tied rankings) titled Defining Moments of Asian Cinema – 100 Best Asian Films Since 1996. The book will feature essays from Asian and Korean filmmakers and critics, all under the theme ‘My Beloved Asian Films’. With these affectionate and admiring views, this publication invites readers to navigate the profound and in-depth perspective on ‘Defining Moments of Asian Cinema’.

The 30th Busan International Film Festival will be held for 10 days from September 17 (Wed) to 26 (Fri) around the Busan Cinema Center.

[Defining Moments of Asian Cinema - Screening List]

*Ordered by Production Year

The Day I Became a Woman (2000) / Marziyeh MESHKINY

The film captures Iranian women who escape social constraints, presenting an aesthetic portrayal of the restrictions in their lives and their subsequent escapes. Winner of the New Currents Award at BIFF 2000.

Goodbye, Dragon Inn (2003) / TSAI Ming-Liang

Covering the final two hours on the eve of a theater’s closing, the film was interpreted as a hymn to old-style cinemas.

Old Boy (2003) / PARK Chan-wook

The film combines the genres of crime thriller, action, and melodrama. It is surprisingly imaginative with its theme, display of desires, and sense of guilt. Received Best Film and Best Director at the AKOFIC (Asia Korea Film Industry Cooperation) Awards 2004, the Grand Prix at Cannes 2004, and Best Feature Film at the Sitges Film Festival 2004.

Tie Xi Qu: West of the Tracks (2003) / WANG Bing

A documentary, filmed over two years, unfolds the dilapidated industrial district of Tie Xi Qu in northeastern China, which the forces of industrialization have ravaged. It captures the lives, loves, desires, and hopes of Chinese factory laborers and their families.

Nobody Knows (2004) / KORE-EDA Hirokazu

Based on a true story that occurred in Japan in 1988, the film follows four abandoned children and explores how this tragedy unfolded, presented in the form of a documentary. Awarded Best Actor at Cannes 2004.

Election (2005) / Johnnie TO

A gritty and well-crafted saga about Hong Kong triads, showcasing the director’s peak filmmaking style. Winner of Best Film and Best Director at the Hong Kong Film Awards 2006.

Still Life (2006) / JIA Zhang-Ke

The film portrays the rapid transformation of a village resulting from the construction of the Three Gorges Dam. Winner of the Golden Lion at Venice 2006.

This Is Not a Film (2011) / Jafar PANAHI, Mojtaba MIRTAHMASB

A documentary filmed by Panahi’s friend, director Mojtaba Mirtahmasb, during his visit on the day of a firework display in Tehran. The camera captures the frustration of an artist unable to create art and his concern for contemporary Iranian cinema, which is oppressed in its freedom of expression. Winner of the Carrosse d’Or at Cannes 2011.

Burning (2018) / LEE Chang-dong

Based on Murakami Haruki’s short story Barn Burning (1983), the film is about the enigmatic relationship between three people. It was honored with prestigious national and global awards, including the FIPRESCI Prize and Vulcan Award at the 2018 Cannes Film Festival, as well as Best Film at the Grand Bell Awards.

Drive My Car (2021) / HAMAGUCHI Ryusuke

A film based on a short story by Murakami Haruki from Men Without Women (2014), it portrays a protagonist who bottles up his darkness and loneliness in a corner of his heart. The film garnered global acclaim, winning Best Screenplay at the 2021 Cannes Film Festival, Best International Feature Film at the 2022 Academy Awards, and Best Foreign Language Film at the 2022 Golden Globes.