Hangul Celluloid: Latest News on South Korean Films

Trinity CineAsia presents critically acclaimed South Korean action-thriller Spiritwalker on Digital platforms from 31st March.

"Sharply-executed gun fu" Screen Daily

Synopsis:
Waking up with a gunshot wound, a mysterious man (Yoon Kye-Sang, Golden Slumber, The Outlaws) has no memory of who he is or where he came from, but soon finds himself transported into someone else’s body every twelve hours. Confused and hunted down at every turn, it’s a race against the clock as he pieces together clues about his identity and any connection between the seemingly random body-swaps he is experiencing.

From the producers of The Gangster, the Cop, the Devil and The Outlaws, Spiritwalker is an action-packed and unforgettable thriller, written and directed by Yoon Jae-Keun (Heartbeat).

Trinity CineAsia presents Spiritwalker on Digital platforms from 31st March

HC's online Korean film talk for The British Korean Society now availale to watch online:

Hangul Celluloid's Paul Quinn gave a 45-minute Zoom #koreanfilm talk for the British Korean Society (@BritKoreanSoc) on 24 Aug, discussing the quirky side of Korean cinema...
The talk in full is now available to watch and listen to here (see below) and on the BKS YouTube channel at https://youtu.be/f8vOWTi_8iw

Oxford University Korean Studies in collaboration with the Korean Cultural Centre UK will be holding a series of interesting talks on the phenomenally successful TV series Squid Game in Oct and Nov. This seminar series will consist of four workshops held weekly via Zoom at 5pm from 23 October 2021.

Interested parties should email TalkingLearningKorea@gmail.com to register.
Attendees must be 18+ due to content.
Seminar Zoom link: https://zoom.us/j/98315040769?pwd=MzhIaVdvRzZ3VDNMWXVudTFmczh3Zz09

Hangul Celluloid's online Korean film talk for The British Korean Society (24 Aug, 2021):

Blue Finch Film Releasing presents Beasts Clawing At Straws on Curzon Home Cinema 13 August and on Digital Download 23 August. The official press release is as follows:

"Dark and wickedly entertaining, Beasts Clawing at Straws finds a variety of low-lives trying to outwit each other as they scheme, lie and murder to make money and save their own skin in a crime caper led by some of Korea’s finest stars including Jung Woo-sung (The Good the Bad and the Weird), Jeon Do-yeon (Secret Sunshine) and 2021 Academy Award® Winner Youn Yuh-jung (Minari).

Downtrodden Joong-man barely gets by working at a sauna and taking care of his sick mother until he finds a bag full of cash in the locker room which offers him a shot at a better life. Conniving Tae-young is in deep with a psychotic loan shark after his girlfriend runs off with the money he borrowed. Cunning Mi-ran is caught between her violent husband and a dead-end job in a seedy hosted club, until she finds a young lover who’s willing to kill for her...

The destinies of these hard-luck grifters and troubled souls slowly converge as they scheme their way towards striking it rich or saving their necks. Without any of them realising it, a dog-eat-dog game has begun.

Winner of the prestigious ‘Tiger Award’ at International Film Festival Rotterdam, the directorial debut of Yong Hoon-Kim is a deliciously twisted black comedy that’s packed with surprises and features a top cast of Korean talent including Jung Woo-sung (Steel Rain, Asura), Jeon Do-yeon (The Housemaid), Bae Sung-woo (Veteran), Jeong Man-sik (The Tiger), and 2021 Best Supporting Actress Academy Award® Winner Youn Yuh-jung (Minari).

Blue Finch Film Releasing presents Beasts Clawing At Straws on Curzon Home Cinema 13 August and on Digital Download 23 August

CMC Pictures and Curzon release Hong Sang-soo's 'The Woman Who Ran' in the UK:

"CMC Pictures is proud to present the 70th Berlinale Silver Bear winner, The Woman Who Ran, the latest international award-winning work from Hong Sang-soo, one of South Korea’s best known and most acclaimed directors. Seeing him offering a new perspective on the lives of South Korean women, the film will be exclusively released in Curzon cinemas and on its streaming platform Curzon Home on 11th December, and will be available on MUBI from 20th December.

Directed by legendary auteur Hong Sang-soo (Hotel By The River, The Day After, On The Beach At Night Alone) and starring his award-winning muse Kim Min-hee (Hotel By The River, On The Beach At Night Alone) and Seo Young-hwa (On The Beach At Night Alone), The Woman Who Ran follows the story of Gam-hee, who meets three female friends, two by the appointment and the other by chance, while her husband is away on a business trip. As they make friendly conversation, currents of mixed thoughts flow above and below the surface of their dialogues.

Hong utilises a relaxing, natural, and almost documentary-like aesthetic to create a female-only discourse, giving the film an intimate atmosphere as it discusses contemporary questions of companionship and relationships, exploring how women choose to live their lives. In Hong’s trademark style, there’s a rich undercurrent of unspoken information and details in the female characters’ deceptively casual conversations, with subtle nuances which are waiting for audiences to interpret and savour.
Known for his unique, often experimental style, Hong has become one of the most iconic and internationally acclaimed directors working in South Korea, and The Woman Who Ran is the first film that sees him turning his camera to an all-female perspective. The film won the 70th Berlinale Silver Bear for Best Director in March 2020 and has received glowing reviews from film critics around the world. The film has also been selected by numerous international festivals, including the London Korean Film Festival, Glasgow International Film Festival, and Brisbane Film Festival. Notably, the influential French film magazine Cahiers du Cinéma selected The Woman Who Ran as one of its Top 10 movies of 2020.
The Woman Who Ran will be released on December 11th in Curzon Bloomsbury cinema in London and will be available on Curzon Home at the same time, with further cinemas to be added around the UK as they reopen. Online streaming on MUBI will be available from 20th December.
“We are very excited about this collaboration with MUBI. We chose this festival title for our first work together, and we believe that it would be perfect content for film lovers on MUBI. In the future, CMC Pictures will acquire more international titles, and we are aiming to establish a long-term relationship with MUBI to deliver more beautiful content,” said Julia Zhu, the director of CMC Pictures International Distribution.
Due to the ongoing pandemic-related uncertainty regarding cinema opening, CMC Pictures and MUBI are working together to seek out more possibilities for local distribution, to keep bringing global audiences more quality and up to date content."

TRAIN TO BUSAN PRESENTS: PENINSULA has been released (30 November) on many formats in the UK by StudioCanal.

The official press release is as follows:

Following on from TRAIN TO BUSAN, one of the most successful Korean films ever made, writer/ director Yeon Sang-ho presents the final installment of his zombie trilogy with TRAIN TO BUSAN PRESENTS: PENINSULA — an all action, all thrills sequel, boasting an all-star ensemble cast of some of Asia’s finest acting talent including Gang Dong-won (1987: WHEN THE DAY COMES), Lee Jung-hyun (BATTLESHIP ISLAND), Kwon Hae-hyo (DEFAULT), Kim Min-jae (PSYCHOKINESIS), Koo Gyo-hwan (JANE), Kim Do-yoon (THE WAILING), Lee Re (SEVEN YEARS OF NIGHT) and Lee Ye-won (ROMANG).

Already having achieved great success in its home country earlier this year, PENINSULA depicts a post-apocalyptic vision of Korea four years on from the events of TRAIN TO BUSAN, in which the entire country is overrun with zombie hordes. With ramped up visuals and knockout special effects from over 250 VFX artists, including an epic high-octane car chase across the Korean peninsula, PENINSULA is a sensory feast for action, horror & Asian cinema fans alike and not to be missed! PENINSULA was also the first Korean film in the same universe to be invited back-to back as part of the Official Cannes 2020 selection.

STUDIOCANAL is thrilled to announce that PENINSULA will be available on DVD, Blu-Ray & EST from 30 November and will also include the limited edition HMV Exclusive First Edition and Train to Busan Trilogy Blu-ray Boxset. All formats will come with the Peninsula: Making Of featurettes – The Action; The Characters; The Director; and The Sequel.

A limited edition Peninsula Blu-ray SteelBook will also be released alongside a brand new Zavvi exclusive double Blu-ray SteelBook for Train to Busan & Seoul Station. Both feature original exclusive artwork by Sam Gilbey.

Terracotta Distribution launches UK’s first VOD platform for East Asian cinema:

Terracotta Distribution has announced its launch of the UK's first Video On Demand platform dedicated to East Asian cinema.
For Korean film fans, the selection of films being made available notably includes seminal New Korean Cinema wave classics such as April Snow, Christmas in August and Il Mare; seven films by independent auteur director Lee Sang-woo; and of course Terracotta's own Korean release back catalogue.
https://www.terracottadistribution.com/

(Terracotta Distribution is also currently holding a sale on its physical media releases)

The official press release is as follows:

"Terracotta Distribution launches the UK’s first Video On Demand (VOD) platform dedicated to East Asian cinema. The new streaming service will showcase a range of new and classic genre, arthouse and indie films from across East and South East Asia. The launch is being marked with a time-limited retrospective of highlights from the celebrated Terracotta Far East Film Festival, which was set up alongside the label.

Films are available on the platform to rent now, with plans to explore subscription and hybrid models in the near future. Terracotta Managing Director, Joey Leung, says:

“We are so happy to have a streaming site purely for Asian film and really pleased with the mix of classics, emerging directors and new releases we’ve put together. We’re really excited to have the Festival Retrospective too, and we hope festival goers will love re-visiting some of their favourite films from past editions. There are so many amazing films coming out of Asia that really need to be seen but never make it over here due to inefficiencies in the system, and now we can help to match film to audience in a more direct way.”

As an introductory launch offer, a selection of titles will be available to rent for just £1 during the Black Friday weekend.

Content highlights include the ‘Japanese Evil Dead’ Bloody Muscle Body Builder In Hell, a collection of golden-age Jackie Chan films from the 80s and 90s and classics from the Korean New Wave never before released in the UK, including April Snow, Il Mare and Christmas in August.

Also on the Terracotta platform is an exclusive collection of films by Lee Sang-woo, an auteur director very much in the style of Kim Ki-duk, whose films deal with topics of society’s marginalised underclass, the same types of characters explored in Bong Joon-ho’s Parasite. Starting with his debut Tropical Manila, Terracotta are showcasing an exclusive selection of seven of his films.

With cinemas shut this is the perfect time to explore East Asian film from your own home – for less than the price of a coffee.

The new VOD platform compliments Terracotta’s existing online store for Asian cinema on physical DVD and Blu-ray."

The full line-up for the 2020 London Korean Film Festival has been announced.
See below for screening details and the official LKFF2020 press release:

"The London Korean Film Festival (LKFF) is proud to be returning in 2020 for its milestone 15th edition. Taking place from 29 October – 12 November the festival will be going digital for the first time, with 30+ films available online to audiences across the UK, prerecorded interviews, live Q&As and other virtual events, along with a selection of special cinema screenings taking place in London. Despite this year’s many uncertainties, the LKFF is pleased to be back, sharing its annual celebration of Korean cinema with fans all over the UK.

We are all living in a post-Parasite world... director Bong JoonHo’s film garnered multiple accolades at film festivals around the world, earning Korea it's first Palme d’Or and culminating with it becoming the first non-English langauge film to win Best Picture at the Academy Awards. The global spotlight is now on Korean cinema like never before. With a piqued interest among a wide audience of movie-goers hungry to delve further into the country’s cinematic output, the LKFF will showcase a typically eclectic programme featuring the year's biggest box-office hits, independent cinema, retrospective screenings of Korean classics, animation, documentary, award winning shorts, Women's Voices (championing women filmmakers) and more.
In a special treat for both committed cinephiles familiar with Bong JoonHo’s feature film work and newcomers eager to discover more after the razor-sharp thrills of Parasite, the festival will be screening two shorts from the great director featuring his now trademark blackly comic social satire, available online and throughout the UK for the very first time. Incoherence (1994) marked the rapid rise of Bong JoonHo within the Korean film industry. Made during his studies at the KAFA (Korean Academy of Film Arts), the film was selected for both the Vancouver and Hong Kong international festivals. A superb example of the darkly comic style, which pervades his later work, Bong's film shows the hypocritical, lofty and immoral stupidity of important people. Influenza (2004) is an innovative 30-minute work filmed entirely in front of real CCTV cameras throughout Seoul. The film follows the downward spiral of a man who gradually turns to ever more violent crime over the space of five years, commissioned by the Jeonju International Film Festival. Also included is a rare on-screen performance from Bong, acting in Kang Dae-hee’s moving short Some Light? (2009).

For the Opening Gala on 29 October the LKFF is proud to present the European Premiere of comedy-inflected tear-jerker Pawn (2019), which revolves around a familial bond that forms from the most unlikely of relationships. Sung Dong-il (Metamorphosis) and Kim Hiewon (The Merciless) star as a pair of tough loan sharks who take a nine-year-old girl from her illegal immigrant mother as collateral over an unpaid debt. Pawn is directed by Kang DaeKyu (Harmony) and edited by Yang Jin-mo who received an Academy Award nomination for his work on Parasite. The Closing Gala, playing on 12 November, will be the UK Premiere of Kim Jinyu’s Bori (2018), which also focuses on familial bonds, this time exploring the themes of disability and difference through the eyes of an eleven-year-old girl. As the only hearing member of a deaf family, young Bori notices the joyful signed communication between her parents and her younger brother. Struggling with feeling left out, Bori wishes that she too was deaf, and tries to achieve her goal with the help of her best friend, with sweet, humorous and moving results.

In addition the festival will feature a Special Focus: Friends and Family strand programmed by Seoul-based film critic, programmer, and translator of Parasite, Darcy Paquet. While in the UK and across the globe we’re still dealing with the pandemic that has uprooted our lives, the LKFF has reflected on the way that lockdowns and quarantines have caused us to reassess the relationships we have with those people closest to us. This Special Focus aims to celebrate the friendships and families in our lives while also casting an honest, critical eye over the ties that bind us with five carefully selected titles from the past decade.

The Special Focus: Friends and Family strand will feature the UK Premiere of director Yoon Dan-bi's coming-of-age drama Moving On (2019), which finds a teenage girl moving into the home of her elderly grandfather along with her younger brother, cash-strapped father and soon-to-be-divorced aunt. Exploring the complex, changing relationships with wit and warmth. The film received awards at the Busan International Film Festival and the New York Asian Film Festival. Director Lee Jae-kyoo gathers together a top cast of acting talent including Cho Jin-woong (The Handmaiden), Yum Jung-ah (A Tale of Two Sisters) and YooHae-jin (1987: When the Day Comes) for the UK Premiere of tense ensemble drama Intimate Strangers (2018) which sees friendships and marriages come put at risk when a game played over dinner threatens to reveal intimate secrets; Kang Yikwan’s award-winning tale of teenage crime Juvenile Offender (2012) sees a boy back in the custody of a mother he believed dead on his release from juvenile reformatory; friendship is at the heart of Lee Joon-ik’s comedy-drama The Happy Life (2007) as four band members find a way to reunite after the death of their singer over 20-years later, and Kim Tae-yong’s much-loved Family Ties (2006) questions traditional notions of ‘family’ as it follows lives and relationships of a small group of people across the years, played by an impressive cast including Moon So-ri (Oasis), Kong Hyo-jin (Missing Woman) and Jung Yu-mi (Train to Busan).

The Cinema Now strand is a showcase for the best contemporary titles to have been released in the past year, featuring an eclectic mix of genres and styles, from blockbusting entertainment to intimate indie works. From Korea’s leading auteur Hong Sangsoo, The Woman Who Ran (English Premiere, 2019) finds Hong’s now regular star Kim Min-hee (The Handmaiden) playing a wife who, after being left to her own devices when her husband takes a business trip, leads us through a typically breezy, conversation-led set of encounters with three old female friends. The Woman Who Ran earned the already highly decorated director the prestigious Silver Bear Award at this year’s Berlin International Film Festival. Director Kim Cho-hee draws on her own experience as Hong Sangsoo’slongtime producer for her debut work Lucky Chan-sil (UK Premiere, 2019), as we follow the producer of a celebrated indie director after the director’s sudden soju-induced death. The directorial debut of actor, and star of The Happy Life, Jung Jinyoung is the enigmatic genre-bending mystery Me & Me (European Premiere, 2019), which recently picked up two Jury Special Mentions at the Fantasia International Film Festival. The film finds a woman (Cha Soo-yeon, Love Call) becoming a different person each night and a cop (Cho Jin-woong, The Handmaiden) who’s life is changed as he gets drawn further into the case. Jeon Gye-soo’s Vertigo (UK Premiere, 2018) is a delicate portrayal of the stresses faced by a thirty-something office worker who’s secret relationship with her boss acts as a constant threat to her unstable position within the company. The sudden onset of vertigo and the attentions of a window cleaner soon bring buried feelings to the surface. Epic action is on the cards in explosive blockbuster Ashfall (2019) from directing duo Lee Hae Jun and Kim ByungSeo. Ha Jung Woo (The Handmaiden) leads the cast as a bomb disposal expert tasked with the dangerous mission of heading into North Korea to rescue an imprisoned double agent, played by superstar Lee Byung Hun (I Saw the Devil), and blow up a volcano in order to prevent a subterranean explosion that threatens the whole country, while Train to Busan tough-guy Ma Dong Seok controls the action back at base. Finally, period action-comedy is on show in Kim Joo-ho’s Jesters: The Game Changers (UK Premiere, 2019), in which a small band of racketeers tour the country tricking the public through a variety of theatrical illusions, but when they become involved in a lucrative job to help restore the reputation of the king, they find the tables have turned.

Women’s Voices celebrates the work of women filmmakers and gives a platform to challenging, thought-provoking works that bring timely issues to the fore. This year is no exception, as two films are presented which are centred on sexual assault and the troubling societal reactions when the women victims try and bring the horrendous crimes perpetrated against them to light. Kim Mi-jo’s Gull (UK Premiere, 2020) finds a market vendor, Obok, drunkenly assaulted by a fellow vendor who wields a position of power as chairman of the market’s redevelopment project. Unable to move on from her ordeal and with her anger rising, Obok reports the crime, only to find fellow vendors and even family members turn against her. In Lim Sun-ae’s searing drama An Old Lady (UK Premiere, 2019) an elderly woman is raped by a young male nurse, and similarly disbelieved by the police and those around her, with the handsome young aide claiming the relationship was consensual.

The LKFF is once again proud to champion women filmmakers in the Documentary strand, which this year comprises a trio of enlightening films that give voices to women from different cross-sections of Korean society. Following the festival’s screenings of films by the Seoul Film Collective in 2019, the festival presents Even Little Grass Has Its Own Name (1990) from director Kim Soyoung. Divided into two sections, the film was originally shot on 16mm and explores the struggles married female office workers face balancing both professional and private work, while highlighting the positive changes female employees make in their lives by joining a labour union. Byun Young-joo’s moving My Own Breathing (1999) delves into a dark period of history when, during World War II, many women were forced into sexual slavery. Many years later as they attempt to lead normal lives, a group of women tell their stories and attempt to reconcile their traumatic past. Itaewon (2016), from director KangyuGaram, examines the lives of women in the Itaewon district as they face the transformation of their neighbourhood following the relocation of the US Army base 70km outside Seoul.
With this year’s Classics strand Korean cinema expert Dr Mark Morris has brought together three stunning retrospective titles to shine a light on Mudang: Korean Shamans on Screen. Korea's traditional shaman, ''Mudang'', acts as an intermediary between the human world and the spiritual world. They have been a frequent subject of Korean films throughout a wide range of genres, as well as spawning a sub-genre called “Musok (shamanism) film”. Focusing on films from 1979-1983, two of these films are directed by one of the country’s most celebrated filmmakers, the great Im Kwon-taek (Mandala, Chihwaseon) who received Korean’s first Best Director award at Cannes and France’s Order of the Legion of Honour for his contribution to the field of visual arts. Im Kwon-taek’s Divine Bow (1979) finds the local shaman on strike as flashbacks reveal the tragic source of her grievances, and Daughter of Fire (1983), also by Im Kwon-taek, finds a man haunted by memories of his shaman mother which lead him on a journey to Jindo Island and its shaman ceremonies. Eul-hwa (1979), directed by Byun Jang-ho, sees a woman train to become a Mudang after visiting the village shaman when her son is sick. Ultimately, as the year’s pass, a rivalry between student and teacher develops along with further conflict between the woman and her son when he returns to the village with newly acquired Christian beliefs.

This year’s Animation strand includes a moving feature film and a series of extraordinary award-winning shorts that challenge our expectations of the medium, playing with form and narrative and offering insightful reflections on the nature of modern life. Underdog (Lee Choon-baek, Oh Sung-yoon, 2018) is an animated feature from the creators of previous Korean hit Leafie, a Hen into the Wild, and mixes 3D characters with 2D backgrounds to tell the story of a pack of abandoned dogs as they navigate the perils imposed by humans in a journey to a fabled people-free haven. Evoking British classic Watership Down, the film is filled with humour, heart and excitement, tempered with tragedy and an eco-friendly message. Selected to play at Cannes Director’s Fortnight this year JeongDahee’s Movements (2019) is a reflection on speed, time, perception and relativity told through a series of witty vignettes; Mascot (Kim Leeha, 2019) follows a cartoon fox in an all too recognisable world as he tries to pass the gruelling training to become a city mascot while working long hours at a dead end job; in dark moral fable The Levers (Kim Boyoung, 2018) a frustrated, unemployed man is given a job pulling levers in a featureless factory, but how will he react when he discovers the true nature of the work? The End of the Universe (Han Byung-a, 2020) follows a woman who leaves the doctor’s office and returns to her daily life after the weighty revelation of a terminal condition. The everyday encounters on her usual walking route now take on new meaning in this sweet, humorous, pastel-washed tale.

Highlighting award-winning works discovered at Korea’s prestigious Mise-en-scène Short Film Festival (MSFF), the Shorts strand offers an exciting overview of some of the best up-and-coming directors with a selection of fresh, creative and endlessly inventive works. Presided over by internationally recognised filmmaking talent including Park Chan-wook and Bong JoonHo, who sit on the committee, and this year’s Festival Director Lee Kyoung-mi, director of past LKFF favourites The Truth Beneath and Crush and Blush, the MSFF has a proven track record of discovering Korea’s future filmmaking talent with previous winners of its awards including director Lee and Jang Jae-hyun (The Priests, Svaha: The Sixth Finger). This year the festival received a record number of entries of which the winners of its eight awards categories are presented here for UK audiences to experience; The Thread (Lee Na-yeon, Cho Min-jae, 2020); Before The Summer Passes (Kim So-hyoung, 2020); God's Daughter Dances (Byun Sung-bin, 2020); The Long Night (Kim Jung-min, 2020); Suspicion (Park Woo-geon, 2020); Us, Day and Night (Kim So-hyoung, 2020); Hide and Seek (Kim Do-yeon, 2020); Roof-Top star (Lee Kun-hwi, 2019).

Presented in partnership with LUX, the UK agency supporting artists’ moving image, the Artist Video strand is comprised of two distinct Artist in Focus programmes, each one shining a spotlight on the body of work of an artist whose subtle, intricate and ambiguous work rallies against the status quo. The Mooijn Brothers comprise of three siblings, Jung Mujin, Jung Hyoyoung, Jung Youngdon, whose sensitive engagement with the contemporary moment culminates in constellations of moving image, installation, community project and publication. To comprehend the genesis of socio-political malaise felt in today’s South Korea, the artists create dreamlike parables and surreal imageries to portray the current working generation and how their lives are weighed down by the current socio-economic climate. Where the Moojin Brothers’ work looks to the world around them, Seo Young Chang looks inward to echo how the power of a structure can shape one’s experience, working with installations of moving image and sculpture to focus on the (in)visibility of corporeal existence and the physical pain that collapses the network of time and space of a body, generating an unproductive entity. The selected videos will guide audiences through different states of existence and trouble the conceptual and physical definition of a living body, exploring the fragile and precarious nature of human beings and how invisible conditions can determine human agency.

The London Korean Film Festival 2020 runs from 29 October - 12 November with cinema screenings in London and online screenings available to audiences across the UK

For further information and announcements: koreanfilm.co.uk
Facebook: @theLKFF
Twitter: @koreanfilmfest
Instagram: @london_korean_film_festival

Confirmed London venues: Picturehouse Central, Genesis Cinema and Rio Cinema

Tickets available early October"

Lionsgate will release Bong Joon-ho's SNOWPIERCER on Blu-ray and DVD for the first time in the UK on 25 May 2020.
You can read the Hangul Celluloid review of the film at: http://www.hangulcelluloid.com/snowpiercer.html

From the visionary mind behind 2020 Oscar-winner Parasite, Bong Joon-Ho’s star-studded dystopian sci-fi thriller Snowpiercer is making its way to Blu-ray™ and DVD for the very first time in the UK.

Set in 2031, the entire planet is frozen and the world’s only survivors live aboard the Snowpiercer: a train that’s been hurtling around the globe for the past seventeen years. Within the carriages the remnants of the human race have formed their own divisive economic and class system.

This is all set to change when Curtis (Chris Evans) leads a group of lower-class citizens, who live in squalor at the back of the train, on a fight to the front of the Snowpiercer to share the food and wealth equally among the inhabitants. Each section of the train holds new surprises for the rebel group as they battle their way from carriage to carriage. A revolution has begun...

Full of action spectacle and plenty of biting social commentary, from acclaimed director Bong Joon-Ho (Parasite, Okja, The Host) this exciting dystopian thriller finally makes its way to UK Blu-ray™ and DVD in an extras-packed edition for fans and first time viewers alike.

Snowpiercer’s A-list cast includes: Chris Evans (Captain America: Civil War), Song Kang Ho (Parasite), Tilda Swinton (Dr. Strange), Ed Harris (Apollo 13), Octavia Spencer (Hidden Figures), Jamie Bell (Billy Elliot), Ewen Bremner (Trainspotting) and the late John Hurt (Alien).
A Netflix series based on the film and the original graphic novel is due for release in May 2020.

Blu-ray special features:
Transperceniege: From the Blank Page to the Blank Screen
Chris Evans and Tilda Swinton on Snowpiercer
The Birth of Snowpiercer
The End of the World, and the New Beginning (animated prologue)
Characters

Snowpiercer is on Blu-ray™ and DVD 25 May 2020 from Lionsgate UK

#Snowpiercer @LionsgateUK
Amazon: https://amzn.to/2KFk88p

Following its success at the UK BAFTA awards - winning Best Film not in the English Language and Best Original screenplay - Bong Joon-ho's PARASITE has dominated the Oscars, scooping four awards for Best Picture, Best International Feature Film, Best Director and Best Original Screenplay. In winning the Best Picture Oscar, Parasite has become the first ever foreign film to do so.

Hangul Celluloid's Television Discussion of Bong Joon-ho's 'Parasite':

Hangul Celluloid's Paul Quinn was recently asked to appear on live studio programe 'Life After Five' to discuss Bong Joon-ho's phenomenally successful, award-winning 2019 film 'Parasite'.
Following the live broadcast, the episode was added to the programme's YouTube archive so interested parties could still see the show even if they'd missed it live.
You can watch the full episode on YouTube at:
https://www.youtube.com/watch?v=yNQVDe5EvUo

The full programme line-up for the 2019 London Korean Film Festival has been announced.
Screenings, dates, times and venues are as follows:

The London Korean Film Festival (LKFF) has launched its full 2019 programme of films and events for the upcoming 14th edition, taking place from 1st-14th November in London before embarking on the annual tour 18th-24th November. The Special Focus, and much of this year’s festival programme, will highlight the historic milestone of 100-years of Korean cinema along with an exciting mix of UK and International premieres, guests and events across a diverse set of strands; Cinema Now, Women's Voices, Documentary, Hidden Figures: Ha Gil-jong, Artist Video, Animation and Mise-en-scène Shorts.

Korean cinema continues to excite global audiences with a steady stream of titles that satisfy both artistic and commercial appetites. This year alone has seen Bong Joon-ho win the Palme D’Or with Parasite at the Cannes Film Festival and Lee Chang-dong’s Burning (2018) released to critical praise in UK cinemas, while Train to Busan (Yeon Sang-ho, 2016), The Handmaiden (Park Chan-wook, 2016) and Little Forest (Lim Soon-rye, 2018) have all found recent success. Now, with 2019 marking the centenary of Korean cinema, the LKFF will shine a light into the past to offer insight into the full and fascinating history of a groundbreaking national cinema that has lead up to the acclaimed hits of today.

This celebration of Korea’s cinematic history is established with the festival’s Opening Gala on 1st November, The Seashore Village (1965). With the LKFF now in its 14th year, this marks the first time a retrospective title has been selected to open the festival. Newly restored, and presented in the UK for the very first time, the film tells the story of a young woman, Hae-soon, living in a village heavily populated by women who have lost their husbands at sea. A vivid portrait of the hardships faced by the women of the village and their methods of coping through sisterly comradeship and an understanding of the natural world around them, the film features striking monochrome cinematography. Courtesy of veteran director Kim Soo-yong, now in his 90s, who made his film debut in 1958 with A Henpecked Husband and went on to make over 100 films in a long and distinguished career, the revered filmmaker will be present on opening night to discuss The Seashore Village, his life in film and 100 years of Korean cinema. Continuing the festival’s championing of new independent cinema, the LKFF will hold its Closing Gala on 14th November with new directing team Lee Jihyoung and Kim Sol’s Scattered Night (2019, UK Premiere). Told through the eyes of two young children who must wait as their separating parents messily make their way towards a decision on which of them will take which child post-divorce. Minimalist and free of melodrama, the film offers an intimate and heart-breaking child’s eye view of a crumbling family dynamic.

The Special Focus strand, A Century of Korean Cinema, follows on from a landmark collaboration with the British Film Institute and the Korean Film Archive earlier this year, ‘Early Korean Cinema: Lost Films from the Japanese Colonial Period’ which presented the country’s oldest surviving films, produced during the turbulent period of occupation during the Second World War. The LKFF 2019 will continue where that acclaimed season ended, launching into a full programme of cinema spanning the decades and featuring works from Korea’s visionary filmmakers of the past and leading up to the early works of prominent directors spearheading the nation’s cinema today.

Special Focus: A Century of Korean Cinema is a unique programme featuring pivotal titles exploring the nation’s rich cinematic history and incorporating UK and European premiere film screenings of culturally-important retrospective titles, many newly restored, and introduced by leading filmmakers and critics from Korea and the UK, along with Q&As, forums, workshops and unique events.

The oldest film to feature in the Special Focus programme is Yun Yong-gyu’s touching melodrama A Hometown in Heart (1949) which follows an orphaned young monk as he traverses temple life while longing for the return of his mother. Moving into the 1950s, two titles are presented: one of which shows the harsh reality of the Korean war, while the other shines a light on the society left in its wake. Lee Kang-cheon’s Piagol (1955) finds a group of communist fighters waging war among mountain villages under the harsh leadership of a zealous commander. With its nuanced depiction of communists the controversial film was originally banned for a perceived pro-communist message. From legendary director Shin Sang-ok (who would later be kidnapped and forced to make films for the North Korean leader Kim Jong-il) comes The Flower in Hell (1958), set against the back-drop of occupied post-war Korea. Disaster befalls the lives of prostitute Sonya as she schemes to find a new life for herself by seducing the younger brother of her hustler boyfriend Young-sik who makes money by stealing from the US military.

The 1960s saw a proliferation in the rich number of films from savvy directors who found ways to bypass strict government censorship. These would highlight and comment on pressing societal issues and have become some of the finest examples of classic Korean cinema. This fascinating and turbulent period is well represented in the programme. Aimless Bullet (1961) from Yu Hyun-mok, one of Korea’s most respected filmmakers and a key figure of the period, presents a powerful, downbeat view of postwar struggle as a low-level clerk attempts to earn money for his family, including a war veteran brother, a traumatised mother and a sister who is sliding into prostitution. A Coachman (Kang Dae-jin, 1961) finds a single father similarly struggling to provide for his family, but through hard work, perseverance and a little romance, light is ultimately found amid the darkness. A Woman Judge (1962) is the country’s second-ever film from a woman director, Hong Eun-won. It follows a young woman determined to become a judge and find a meaningful place in society, despite the protestations of various individuals around her, including her own mother and husband. The film is ahead of its time in critiquing a range of conservative and outdated attitudes that traditionally hold back an intelligent, determined woman working hard to find fulfilment outside of the home.

In Kim Soo-yong’s Bloodline (1963) the societal conflict is generational, as three sets of parents attempt to force their children to forego personal ambitions in order to make money to support their families. Set in the immediate post-war period, the younger generation demand freedom to choose their own path as they look ahead to a brighter future. Goryeojang (1963) is the first of two films from the idiosyncratic Kim Ki-young, director of the classic The Housemaid (1960). The title refers to the practice of families abandoning relatives in the mountains once they reach old age (as seen in Imamura Shohei’s 1983 classic, The Ballad of Narayama), a custom practiced in a small village where the film is set, as society begins to buckle under the strain of famine and starvation. Ieoh Island (1977) incorporates the director’s highly stylised filmmaking into a psychosexual mystery thriller in which a man investigates a murder on an isolated island inhabited only by women. Next comes three titles from prolific auteur Lee Man-hee whose influence has extended well beyond his tragically short life, with 51 films produced before his death at the age of 43 in 1975. The Devil’s Stairway (1964) is a dark mystery thriller in which a chief surgeon murders the woman with which he is having an affair, only to become tormented by her spirit. Homebound (1967) follows the wife of a bedridden writer as she stumbles upon a chance at true happiness beyond the confines of her tragic circumstances, while Lee’s masterpiece A Day Off (1968), presents an agonisingly bleak but beautiful look at a young couple’s life in 1960s Seoul, and was originally banned by the authorities for its bold but sombre depiction of Korean society.

Heading into the 1980s, and the nation’s struggles are reflected by filmmakers in works commenting on wealth disparity, corruption and materialism among other critical social issues. Im Kwon-taek put Korean film on the map in this decade as he moved away from a more commercial filmmaking style, announcing himself as a true auteur who would be celebrated at Cannes, Venice and Berlin where he earned an honorary Golden Bear in 2005. Here the legendary director is represented with the exemplary Ticket (1986), which looks at the lives of three newlyhired sex workers in a small seaside town. Lee Jang-ho, celebrated with a retrospective at the 2016 LKFF, was another filmmaker combining a commercial sensibility with a keen artistic eye to great effect throughout the 1980s. The Man with Three Coffins (1987) finds Lee in experimental mode as he tells a non-linear, dream-like story that addresses issues of displacement after the Korean War, as a man wanders the countryside looking for a location to scatter his dead wife’s ashes. From Park Chul-soo, who would become a leading voice in Korea’s burgeoning second New Wave, a A Pillar of Mist (1986) follows the plight of a married couple and was the winner of the Grand Bell Award (Korea’s Academy Award equivalent). Jang Sun-woo, a filmmaker who would achieve acclaim whilst also troubling censors with his bold tackling of controversial subjects, is here represented by The Age of Success (1988) which mixes anarchic comedy with a sharp skewering of rampant 1980s capitalism. Screened in the Un Certain Regard section at Cannes, Why Has Bodhi-Dharma Left for the East? (1989) is a meditative reflection on the lives of three Buddhist monks that director Bae Yong-kyoon shot with a single camera over the course of seven years.

Slowly emerging from the political turmoil of the 1980s, Korean cinema would continue to grow in reputation in the 1990s as filmmakers gained increasing international recognition with their work and new artists appeared, many of whom are still finding commercial and critical favour around the world to this day. Based on the accounts of a real-life war correspondent, Chung Ji-young’s epic drama North Korean Partisan in South Korea (Nambugun) (1990) humanises characters on both sides of the divide. In A Single Spark (1995), Park Kwang-su shines a light on the country’s strong protest practices as he follows a young law school student inspired by the life of a manual worker who burnt himself to death in a demonstration over unfair labour practices. Hong Sangsoo has earned a status as one of Korea’s leading auteurs. This reputation was cemented with his first film The Day a Pig Fell into a Well (1996), which follows four intertwined lives in a fragmented, self-reflexive chronology and bares many of the great director’s established trademarks. Lim Soon-rye has found success as a woman director telling powerful stories often concerning women and marginalised lives with hits including Forever the Moment (2008) and last year’s Little Forest (2018). Presented here, her debut Three Friends (1996) is a biting satire that finds three young men, each one considered something of a social misfit, whose lives are disrupted when they must report for military service. The romance film continues to hold a place in the heart of Korean cinema goers and Chang Yoon-hyun’s The Contact (1997) is an excellent example as love blossoms over the airwaves when a radio DJ plays a Velvet Underground track. Already widely acclaimed, Lee Chang-dong has recently earned new accolades following a return to filmmaking with Burning (2018) which saw him win the Fipresci International Critics' Prize at Cannes. Peppermint Candy (1999), Lee’s second work, looks at different episodes of a man’s life to portray a tragic personal story which, in true Lee style, further comments on Korean society as a whole.

The Cinema Now strand once again showcases the best of contemporary Korean cinema with a diverse and exciting line-up including some of Korea’s finest recent titles, including festival sensations and domestic box office hits from the past year. In Hong Sangsoo’s latest feature Grass (2017, UK Premiere), a writer (Kim Minhee, The Handmaiden) eavesdrops on conversations in a cafe as their stories begin to intertwine. Carefully-crafted and deceptively-simple, Grass bears all the hallmarks of the Korean auteur and premiered to acclaim at the Berlin International Film Festival in 2018. The first of two titles on real-life incidents is the critically-acclaimed Birthday (2018, UK Premiere) which comments on the emotional toll of the Sewol Ferry tragedy of 2014 in which 299 people lost their lives when a passenger ferry sank en route from Incheon to Jeju. Director Lee Jong-un’s moving film focuses on one grieving family as it sensitvely tackles the aftermath of an event sadly burnt into the contemporary Korean consciousness. Travelling back to the early twentieth-century Joe Min-ho’s period drama A Resistance (2019, European Premiere) is based on the true story of Yu Gwan Sun, a political activist who became a symbol for the struggle for Korean independence against Imperial Japanese rule. For those who like their cinema full of thrills, Idol (2018, UK Premiere) is an action-packed and blood-soaked neo-noir from director Lee Su-jin, while Lee Byeong-heon’s Extreme Job (2018, UK Premiere) is a hilarious action-comedy that follows an inept police squad on a narcotics bust as they work undercover at a fried chicken joint, and has become one of Korea’s most successful films of all time at the domestic box office. Lee Min-jae’s The Odd Family: Zombie On Sale (2018, UK Premiere) is an undead horror-comedy with a lot of heart that proves there’s still life in the age old zombie formula. A captivating meditation on human nature, Height of the Wave (2019, UK Premiere), follows a police officer, Yeon-soo, who is transferred to an isolated island with her daughter when the actions of the locals start to cause alarm. Winner of the Special Jury Prize at this year’s Locarno Film Festival, the film is the latest from LKFF favourite Park Jung-bum (Alive, The Journals of Musan).

Presented by the LKFF in conjunction with the Barbican’s Hidden Figures film programme, this celebration of renowned director Ha Gil-jong shines a light on the work of one of Korean cinema’s most iconoclastic auteurs. Rising to prominence in the 1970s, a dark period for Korean filmmaking as the Park Chung-hee led government exerted its control through strict censorship, Ha Gil-jong stood out with a radical, politically-charged voice, challenging contemporary society through the language of film. The Pollen of Flowers (1972), is a provocative first-feature in which a relationship between a businessman and his protégé (with forbidden sexual undertones) goes awry with the introduction of the younger man into the home of the boss’s mistress. The March of Fools (1975), a perennial favourite and Ha’s best known film, is a college comedy that offers a snapshot into 1970s student life, with dark undertones that reflect on the prevailing dictatorship of the time, and The Ascension of Han-ne (1975) mixes elements from traditional ghost stories and shamanic practices to tell the story of a woman who is saved from suicide only to later fall prey to the gross antagonism of the village shaman.

The LKFF continues its work highlighting Women’s Voices in cinema, with this now-regular strand that has reinforced and expanded upon issues raised in its films with roundtable discussions and panel events featuring directors, actors and leading voices in contemporary feminist film criticism. This year celebrates the work of first-time women directors with four films: Cha Sung-duk’s Youngju (2018, UK Premiere) finds a young woman forced into the role of parent to her wayward younger brother as she forms an unlikely relationship with the man who accidently killed her parents, Ahn Ju-young’s A Boy and Sungreen (2018, International Premiere) finds an awkward schoolboy attempt to track down his father with the help of his more forthright female best friend, Shim Hyejung’s A Bedsore (2019, International Premiere) tackles issues of treatment and care for the elderly as family wounds fester when a stubborn bedsore develops on a bed-ridden grandmother, and intimate documentary Yukiko (2018, UK Premiere) finds director Young Sun Noh trace a family history scarred by war.

Following last year’s LKFF Documentary Fortnight, which focused on exemplary independent works based around themes of social justice and resistance, this year's Documentary strand highlights the work of two of the country’s political film collectives which developed in the 1980s. Firstly, the Seoul Film Collective, who from 1982 to 1987 produced a number of films that contributed to the collective social and political reform movement that developed in South Korea throughout the decade. Water Utilization Tax (1984) presents the four month economic struggle of farmers in the Gurye county area and exposes their difficulties and organised response, while Blue Bird (1986) was born from conversations with farmers about their life and working conditions. The Night Before the Strike (1990) comes from film collective Jangsangotmae and depicts the repression of a group of low-pay factory workers by their company managers as they attempt to unionise. Though banned the film was exhibited in unofficial venues such as Jeon-nam University, where the government sent in riot police to stop the screening and seize copies of the film. Ironically, over 300,000 people would eventually see the film making it the most viewed independant film of that year.

In the spirit of this year’s Special Focus, the Animation strand will showcase a classic Korean animated film, along with a colourful new feature for children. From Shin Dong-Hun, a pioneer in Korean animation, A Story of Hong Gil-dong (1967) concerns folk hero Hong Gil-dong, the spurned, son of a nobleman. Taking to the countryside of Korea, he soon discovers he has supernatural abilities which he puts to use righting the many injustices he encounters on his travels. Considered lost for 40-years, this is the oldest surviving Korean animated film, while Astro Gardener (2019, UK Premiere) is a fun and lively fantasy adventure packed full of creative creatures and with an important ecological message.

The Shorts Strand highlights award-winning works discovered at Korea’s prestigious Mise-en-scène Short Film Festival (MSFF). Having been a platform to launch the career of many directors now working within the Korean film industry, this year the festival invited past winners Jang Jae-hyun (The Priests, Svaha: The Sixth Finger) and Lee Kyung-mi (Crush and Blush, The Truth Beneath) to sit as MSFF Directors and lead the search for new and uniquely creative shorts. In this year’s selection is: Freckles (2019), a bittersweet tale of first love that finds one young girl tasting romance after a drunken first kiss whilst at fat camp, To Each Your Sarah (2019) sees one woman forced to rebuild her life after leaving a cheating husband, Goodbye Bushman (2018) revolves around two brothers whose Africa-inspired games take a strange turn when they come across their own real-life ‘bushman’ in the woods, Milk (2019) follows a hotel maid working to afford baby formula and forced to commit a petty crime, Yuwol: The Boy Who Made the World Dance (2018) is a charming musical following a young boy with the infectious urge to dance, Camping (2019) holds dark thrills as a woman is kidnapped whilst at a remote camping spot with her husband, The Stars Whisperer (2019) involves a young girl with hearing difficulties who forms a new relationship over a day spent skipping school, and The Lambs (2019) is centered on a pastor and a member of his congregation who share a dark connection and an obsession over a dead woman.

The Artist Video strand, in collaboration with LUX | Artists’ Moving Image, focuses on two distinctive voices in experimental film work. Director and cinematographer Yoo Soon-mi presents a visually dazzling portrait of North Korea in her documentary Songs from the North (2014, UK Premiere), which interrogates the shared memory and collective history of the North and South Korean people and in Dangerous Supplement (2005) we gain an insight into the artists’ early work, particularly the theme of memory that informs her later pieces. Three works are presented from visual artist Park Chan Kyong, with Sets (2000) examining the North’s perception of South Korea by looking at the constructed sets of South Korean streets and buildings housed at the National Film Studio of North Korea, Flying (2005) examines the North-South divide via footage of flights in and out of Pyongyang and from the streets of the northern capital and Believe It or Not (2018) (produced by Park’s brother, acclaimed director Park Chan-wook) is a short narrative piece inspired by the many people who have made the dangerous journey across the border.

●      Kim Soo-yong - Director of The Seashore Village & Bloodline
●      Kim Sol – Director of Scattered Night
●      Chung Ji-young - Director of North Korean Partisan in South Korea
●      Chang Yoon-hyun - Director of The Contact
●      Lee Byeong-Heon - Director of Extreme Job
●      Shim Hyejung - Director of A Bedsore
●      Cho Joonhyung - Senior Researcher, Korean Film Archive
●      Yoo Un-seong - Korean film critic, co-publisher of Okulo a journal of cinema and the moving image, and programmer at Jeonju International Film Festival (2004-2012)
●      Darcy Paquet - Seoul based film critic, lecturer, and author (New Korean Cinema, 2010), awarded the Korea Film Reporters Association Award

London venues include: Regent Street Cinema, Picturehouse Central, Close-up Film Centre, Phoenix Cinema, Rio Cinema, ICA, Barbican, British Museum, LUX, Birkbeck’s Institute of Moving Image, and KCCUK.

The festival tours to: Edinburgh Film House, Watershed Cinema Bristol, Belfast Queen’s Film Theatre, Glasgow Film Theatre, Manchester HOME, Nottingham Broadway Cinema, until 24th November 2019.

The final LKFF teaser screening prior to the 2019 London Korean Film Festival will be KOKDU: A STORY OF GUARDIAN ANGELS (2018), taking place on 16 Sept at Regent Street Cinema, London
The event will also include the official 2019 LKFF programme launch.

Hangul Celluloid's 'Singles' Introductory Film Talk at the University of Westminster (4 March 2019):

In early 2019, I was asked by the Korean Society of the University of Westminster to give an introductory film talk prior to a screening of 'Singles' (2003) as part of an International Women's Day event.

The following is a transcription of that talk:

Trends:

I'm not sure if any of you have checked out the synopsis of Singles online or wherever. The film tells the story of the friendship between two women and their various relationships - Nan is nearing her 30s and is pretty sure her life will take the traditional route of decent job and relationship leading to marriage, that is until she's dumped by her boyfriend and demoted at work, while Dong-mi is currently on her 48th boyfriend, is happy to tell anyone and everyone about her rather liberal attitude to life, relationships and sex and has no intention whatsoever of settling down.
The film was released 16 years ago in 2003, but even in 2019 it feels contemporary, wholly modern, to the extent that it could almost stand alongside Korean relationship comedies of the present day. But that fact in itself makes it all too easy see Singles as just another relationship comedy, one in a very long list, and overlook the part it played in huge changes that took place in Korean cinema in the late 90s / early 2000s, a period that's become known as the New Korean Cinema wave.

While the vast majority of discussions about the New Korean Cinema wave can almost be guaranteed to cite Park Chan-wook, Bong Joon-ho etc. as directors whose films fuelled the entire expansion of Korean cinema - using modern filmmaking techniques, merging genres to create highly original films that had an impact both internationally and domestically - far fewer mention the many other New Korean Cinema directors who chose to focus on familiar genres and narrative ideas, bringing a progressiveness to already popular subjects and often imbuing their films with noticeably modern attitudes.

With many of these directors having been schooled abroad, they began to step away somewhat from traditional Korean depictions of relationships, love and romance – such as pre-marital chastity, relationships serving largely as a means to marriage, lasting happiness only coming within the standard ideal of ‘married family’ – and move more towards depictions of relationships as an end in their own right for young adults not yet ready for marital commitment, this more modern attitude coming at a time when young single Korean women were beginning to assert their individuality and become far more sexually aware and worldly wise than previous generations.
In Singles, the character of Nan being dumped by her boyfriend (thereby, in the early stages of the narrative, no longer having a relationship that could lead to marriage), having to learn to be single again, as well as the change in her attitude towards life and relationships as the film progresses can be seen as a mirroring of the gradual move from traditional to modern that that was taking place throughout New Korean Cinema at the time, and indeed in Korean society as a whole.

Of course, stories of sexually aware women pursuing their own needs and desires outside of marriage were certainly nothing new back in 2003, but for decades Korean films had dealt with such subjects as cautionary tales, with such women with wholly modern attitudes to life and sex shown as a threat to traditionalism, family and Korean society as a whole and ultimately punished for their 'wantonness'. Discussions of these sorts of depictions can almost be guaranteed to cite director Kim Ki-young as a driving force, and indeed he was absolutely obsessed with what he himself described as these ‘Despicable Women’ throughout the Korean cinema Golden Age of the 60s and 70s, whether you look at Io Island (1977), Insect Woman (1972), Woman of Fire (1971) or indeed his absolute classic The Housemaid from 1960, and on and on. However, while Kim Ki-young was pretty much the most famous director of such narratives, he certainly wasn't alone or indeed anywhere near the first to point to a supposed societal threat posed by modern female attitudes, autonomy and sexuality. Indeed, if you look further back to the 50s to films such as Madame Freedom or even way back to the 30s with Sweet Dream from 1936 you'll find an absolute myriad of such cautionary tales relating to female modernity. As well as themes, what all of these films across the decades had in common was the ultimate punishment of the wayward female in question. Whether she committed adultery, became obsessed with consumerism – her love of Westernised trinkets and clothing leading to her neglecting her family – or pursued sexual freedom, in the process turning her back on traditional female ideals, the outcome was the same – she would be made to pay dearly for her self-serving actions. In fact, the first ever Korean film where such a sexually voracious woman wasn’t ultimately punished in some form or other for her sexual actions and choices outside marriage was The Adventures of Mrs Park which wasn't released until 1996, just seven years before Singles.
Admittedly, those earlier depictions of independent, modern, sexually aware females looking out for themselves rather than focusing on marriage, husbands and family were much harder and forceful. These women were far more conniving, far more self-serving than the fun-loving independent women in films like Singles, but that's kind of the point. New Korean Cinema directors were essentially saying that modern women following their own needs, desires and pleasures was no big deal, it was just life and even something to be celebrated... and that struck a massive chord with female cinema audiences, making films like Singles hugely successful at the Korean box office.

Singles also utilises other popular New Korean Cinema trends, those of depictions of noticeable feisty females and a somewhat reversal of traditional male / female roles – i.e. strong women paired with far meeker, or even hapless, males. There was an absolute explosion in the appearances of these sassy female characters around the time of Singles and slightly before, the most obvious example being Kwak Jae-young's My Sassy Girl in 2001 with its story of a mild-mannered man’s relationship with a hilariously violent, virtually psychotic girl. This switch in gender roles combined with strong female characters was so popular with audiences (especially young women) that a slew of similar examples really had to follow, from the My Wife is a Gangster series of gangster comedy movies to romance Windstruck, to Saving My Hubby - the story of a woman’s fevered journey through Seoul to rescue her husband who has been taken hostage by a bar owner over an unpaid drinks bill, all while carrying her baby on her back. As time passed, the physicality of these sassy depictions mellowed somewhat turning largely to dialogue-based feistiness, resulting in much more realistic and natural narrative humour.

While many of the NKC comedies were aimed directly at those in their pre-marital late teens and early 20s, just as many targeted a slightly older demographic, allowing discussions of modern attitudes to marriage and sex to be included within the humour and speak directly to age groups for whom such issues really mattered. Such is the case in Singles, as well as, for example, The Art of Seduction (telling of a competition between a man and a feisty female to see who is better at seducing members of the opposite sex for a one night stand), A Bizarre Love Triangle (the title really speaks for itself) and, later, My Wife Got Married, in which a strong sassy woman married to a meek man decides she wants to marry a second husband while keeping her current marriage going.
Singles’ use of all of the above ensures that though the film is based on the Japanese novel Christmas at Twenty-nine, it is Korean through and through to the extent that it could almost be considered a poster film for New Korean Cinema comedies.
Ultimately, Singles was at the very forefront of changing decades-long depictions of women in Korean cinema to show modern female attitudes and sexuality in a far more positive and natural light than ever before, celebrating their modernity rather than punishing them for it, and the film's success ensured that such depictions snowballed in its wake. As such, in hindsight, Singles’ importance to Korean cinema as a whole cannot be overstated in any respect.

It almost goes without saying that this reversal of traditional gender roles, either overtly or subtly, and the idea of noticeably feisty females easily lend themselves to humorous depictions and director Kwon Chil-in uses them to great comic effect in Singles combining them with genuinely witty dialogue throughout... whether it’s Dong-mi (Uhm Jung-hwa) dragging her trouserless boss across a office by his tie to loudly berate him in front of her work colleagues, or more traditionally feminine Nan (Jang Jin-young) undertaking a sexual liaison dressed as a bunny girl brandishing a whip, while her conquest is on all fours on the floor. This carries through to Nan's thoughts being shown and voiced on screen - on the outside she's shy, polite and respectful - as society would want her to be as a lady - while inside she's the archetypal feisty female, swearing like a trooper and happy to imagine herself beating up a woman in the street on hearing her talk happily about love.

While Singles is wholly modern, Kwon Chil-in nonetheless references a number of cinematic romance and drama clichés throughout, gently parodying them in the process... rain to represent a character's sadness, a 360 degree camera pivoting around two lovers etc etc and in each case Kwon Chil-in has one of the characters point out that it is a movie cliché, almost poking fun at himself in the process.

As a final note on the humour in Singles, there was somewhat of a trend during the New Korean Cinema wave for comedies to use overtly and overly ‘loud’ humour. Take for example Crazy First Love in which actor Cha Tae-hyun’s character spends the entire first half hour of the film yelling almost every line of dialogue at the top of his lungs, getting, as far as I’m concerned, more annoying and less funny with each passing second. Kwon Chil-in wisely avoids such overly contrived attempts at noisy humour in Singles and, by keeping things fairly bright and peppy as well as creating genuinely likeable characters that are easy to warm to, what boisterousness there is comes across as far more legitimate and indeed welcome, succeeding to a much funnier degree.

I’d love to give you an overview of all of the main Singles cast members but time is rather of the essence. So, instead, I’m going to briefly focus on one cast member specifically. That is, actress Jang Jin-young who in her nine film career was nominated for 21 acting awards, winning 14, quickly becoming one of Korea’s best loved actresses, in the process.

Jang Jin-young began her career in front of the camera as a model, and even represented her home province in the 1993 Miss Korea beauty pageant. She briefly moved from modelling to television acting in 1997 and in 1998 she landed her first film role in fantasy drama Ghost in Love. While her tough girl supporting role in Kim Jee-woon’s classic The Foul King in 2000 brought her to the attention of audiences and film critics far more than Ghost in Love, it was her first major starring role in 2001’s Sorum that truly set her on the path to stardom. Telling the story of a chain-smoking victim of domestic abuse who gradually begins to lose her grip on reality, Jang Jin-young’s jaw-dropping performance will at once break your heart and send a chill up your spine... and that performance quite rightly earned her six best new actress awards in Korea and abroad.

In 2003, Jang Jin-young starred, of course, in Singles for which she won another load of awards and Scent of Love – a film about a woman diagnosed with stomach cancer which tapped into New Korean Cinema’s penchant for films dealing with terminal illness. However, following a further two film roles which included the superlative Blue Swallow, a historical biopic about the life of one of Korea’s first women pilots, Jang Jin-young began to suffer from debilitating abdominal pain, and on seeking medical attention was herself diagnosed with stomach cancer, sadly mirroring the narrative of Scent of Love. Life cruelly imitating art, if you will.

She immediately retired from acting and began treatment combining Eastern and Western medicine but though she bravely battled against her disease for almost exactly a year, on September 1st 2009 Jang Jin-young passed away. She was just 35 years old.

During an interview at the time of Singles’ cinema release in 2003, Jang Jin-young said her character in the film had a personality closer to her own than any other role she’d ever played. As such, Singles is a beautifully, genuinely funny comedy that not only stands as a tribute to the talent of one of Korea’s best-loved actresses but also serves as an uplifting reminder of how warm, witty and full of life Jang Jin-young really was.

Westminster University Korean Cinema talk by Hangul Celluloid + 'Singles' screening (4 March):

On 4 March, the University of Westminster will be holding an International Women's Day event entitled 'Voices: Women in Korean Cinema'.
As part of this, Paul Quinn of www.hangulcelluloid.com will be giving a talk on depictions of women in Korean cinema prior to and post the 2003 #koreanfilm SINGLES, followed by a screening of the film itself.
Dr Colette Balmain will also be giving a talk at the event.

Entry to the talks and screening is free and open to the public but booking in advance is required through the following link:
https://www.eventbrite.co.uk/e/voices-women-in-korean-cinema-tickets-57104818048

'What's Korean Cinema?' podcast 43 is now available on Podcast On Fire's various channels.
In this episode, Hangul Celluloid and Podcast On Fire discuss six notable Korean shorts (Sprout, Doggy Poo, Night Fishing, Miss Longlegs, Awaiting and Polaroid):
http://podcastonfire.com/2019/02/whats-korean-cinema-43-six-short-films/

A collaboration between the BFI, KOFA and the KCCUK will see a number of seminal 'Early Korean Cinema' films (many previously unavailable) screened at both the British Film Institute and the Korean Culural Centre UK in February, 2019.
The official press release is as follows:

For the (free) Early Korean Cinema screenings taking place at the KCCUK, please visit:

Director Lee Sang-woo's often hard-hitting, wholly socially aware and regularly contoversial films are being made available to Korean film fans in the UK on VOD via Terracotta Distribution. Full details and access to the films can be found on Terracotta Distribution's official website at:
http://www.terracottadistribution.com/films_category/lee-sang-woo-collection/

Over the past couple of years, the Hangul Celluloid site has reviewed a number of Lee Sang-woo's films, as follows (including links to the reviews in question):

'What's Korean Cinema?' podcast 42 is now available on Podcast on Fire's various networks and channels.
In this episode, Hangul Celluloid's Paul Quinn and Podcast on Fire's Kenny B look at the career of Ryoo Seung-wan, the 'Action Kid of Korean Cinema', and disuss his iconic NKC wave film No Blood No Tears from 2002:
http://podcastonfire.com/2018/11/whats-korean-cinema-42-no-blood-no-tears/

The programme for the 2018 London Korean Film Festival 2018 has been announced.
The official press release is as follows:

Synopsis (courtesy of the LKFF):

"Acclaimed director Hong Sang-soo returns with another humour-inflected, conversation-led drama, this time moving from the bars of Seoul to the backstreets and beaches of Cannes Film Festival.
Claire’s Camera sees The Handmaiden star Kim Min-hee take the role of a film-sales assistant abruptly dismissed from her job, right in the middle of the festival. Having been given only the vaguest reason for dismissal by her boss - a supposed lack of ‘honesty’ - the young woman is left to ruminate on her situation within the film-focused atmosphere of the French town. Enter noted actress Isabelle Huppert (Elle), a holidaying music teacher with a wandering eye and an instant camera that will come to connect the dots between the wronged assistant, her former boss, and the film director at the heart of the friction.
The unique production of Claire’s Camera had shooting take place on location in Cannes just as the festival’s 2016 edition was beginning. Filmed around the hectic schedules of lead actresses Kim Min-hee and Isabelle Huppert, the actual marketing booth for Hong’s work was used for the set, lending a meta quality to this filmic project.
Hong, is a firm favourite of Cannes and has been a regular attendee since 1998, having had multiple films in Competition and picking up the prestigious Un Certain Regard Prize for his 2010 entry Hahaha. He’s no stranger to the London Korean Film Festival either, with his last two films The Day After and Yourself and Yours playing as the Opening and Closing films in 2017 and 2016 respectively. There’s good reason why Hong is championed by festivals and critics and whether familiar with his work or not, the languid pacing and breezy atmosphere of Claire’s Camera will prove as welcome relief to the bluster of the summer blockbuster season."

@koreanfilmfest #ClairesCamera

'What's Korean Cinema?' podcast 40 is now available on Podcast on Fire's various networks and channels.
In this episode, Hangul Celluloid and Podcast on Fire discuss THE MIMIC - Huh Jung's brooding and genuinely scary 2017 Korean horror:
http://podcastonfire.com/2018/08/whats-korean-cinema-40-the-mimic/

'What's Korean Cinema?' podcast 37 is now available on Podcast on Fire's various networks and channels.
In this episode, Hangul Celluloid and Podcast on Fire discuss the 1999 New Korean Cinema wave classic SHIRI:
http://podcastonfire.com/2018/05/whats-korean-cinema-37-shiri/

The html code for the Google Custom Search field at the bottom of the HC site’s homepage has now been rewritten from scratch (with a fair bit of screaming, crying and teeth gnashing).
Of late, the field hadn’t been returning any search results at all, but thankfully the coding rewrite means it is finally working again.

So, visitors can now once more use the Custom Search to search the site for specific film reviews, interviews, talk transcriptions and even references to actors, actresses and directors, without having to scroll through drop down menus and/or pages...
Mind you, if you do scroll rather than searching, you may find something of interest spontaneously.
A visual example of the search field 'in action' can be found in the images below.

*This is a temporary post just to alert you to the availability of the Custom Search field as another option for accessing HC site content, simply because the search function has been out of action for a time until now.*

BE WITH YOU - LKFF Teaser Screening & European Premiere:

Each year and throughout the year, the London Korean Film Festival holds a number of 'teaser screenings' focused on current Korean cinema box office hits. The LKFF's first teaser screening of 2018 will be Be With You (지금 만나러 갑니다 / 2018 / directed by Lee Chang-hoon and starring Son Ye-jin & So Ji-sub).
Taking place at Picturehouse Central, London, on 25 April, the teaser screening will also serve as the film's European premiere.
The LKFF's official press release is as follows:

"The London Korean Film Festival Teaser Screening series returns this year with the European Premiere of fantasy drama Be With You, based on Japanese author Takuji Ichikawa's bestselling novel of the same name. Lee Chang-hoon’s directorial debut takes us on a heart-wrenching journey deep into sunaebo, the type of pure and eternal love lying at the core of countless Korean and Japanese melodramas of the kind; yet is perhaps a concept less familiar to the Western eye.
While Woo-jin (So Ji-sub, Rough Cut) mourns the passing of his beloved wife Soo-a (Son Ye-jin, The Truth Beneath), their young son, seven-year-old Ji-ho, holds unfailingly onto his mother's vow to return when the next rainy season breaks. Ji-ho’s unflinching faith in his mother’s words prove not in vain; miraculously a year later the three are reunited on that promised first day of the rainy season. The woman who appears once again before Woo-jin and Ji-ho looks no different to the one lost to them just a year before. Yet Soo-a has no memory, not of the husband, nor the son whom she once treasured so dearly."

European Premiere

Picturehouse Central, Wednesday 25 April 9pm

Booking & Info: https://www.picturehouses.com/cinema/Picturehouse_Central/film/lkff-2018-teaser-screening-be-with-you

88 Films (@88_Films) will release SEA FOG (해무 / 2014) on Blu-ray in the UK on 26 March, 2018.
The official press release is as follows:

"SEA FOG is one of the Korean wave's most potent stories and a visually arresting action-packed effort. Telling of an illegal immigrant operation in South Korea, focused on bringing 30 mainland Chinese star-watchers to the hustle and bustle of Busan and Seoul, which ends in terrifying tragedy, SEA FOG is a tense thriller and a blistering viewing experience. Produced by the legendary Bong Joon-ho (THE HOST) and with a cast that includes the great Kim Yoon-seok (THE CHASER) and K-pop icon Park Yoo-chun (formerly of TVXQ), SEA FOG is an adventure on the high sea that ranks as one of East Asian cinema's most masterful recent achievements!"

SPECIAL EDITION CONTENTS

All About Bong: Interview with Jean Noh, Deputy East Asia Editor for Screen International
Visual Effect Reel

TECHNICAL SPECS

Region Code: B
Picture Format: HD 1080p 2.35:1
Audio Format: 5.1 Surround Sound
Language: Korean with English Subtitles
Certification: TBC
Running Time: 111 Mins Approx

SEA FOG (해무 / 2014)
Director: Shim Sung-bo
Starring: Kim Yoon-seok, Han Ye-ri, Park Yoo-chun

Park Chan-wook’s sumptuously beautiful, exquisitely erotic masterpiece THE HANDMAIDEN has succeeded in winning a 2018 BAFTA award, in the category ‘Film Not in the English Language’.
While this award doesn't wholly offset the disappointment at the news that the film wasn't nominated for this year's Oscars, it is hugely positive nonetheless and raises the hope that THE HANDMAIDEN will continue to reach an ever-widening audience and receive yet more wholly deserved accolades as time passes.

Official details of THE HANDMAIDEN’s BAFTA award (as well as the other nominees in the 'Film Not in the English Language' category) can be found on the BFI's website at:
http://www.bafta.org/film/awards/ee-british-academy-film-awards-in-2018#film-not-in-the-english-language---the-handmaiden

Early in the New Year, The Korean Film Archive unloaded a large number of classic and/or rare Korean films to its official YouTube channel, adding greatly to the already numerous, often seminal, examples of Korean cinema from as far back as the 1930s available for users to legitimately watch for free online. As such, the KOFA YouTube channel continues to be an absolutely vital resource for all those interested in Korean cinema and indeed its history.

The Korean Film Archive YouTube channel (currently consisting of 170 films) can be found at:
https://www.youtube.com/user/KoreanFilm

The full programme for the 2017 Lonson Korean Film Festival has been announced.
The official press release is as follows:

This year’s opening and closing films complement each other as two highly acclaimed dramas presenting unique perspectives on non-traditional romantic relationships - and both star Actress Kim Sae-byeok. The UK Premiere of prolific auteur Director Hong Sangsoo's Cannes acclaimed The Day After (2017) will kick-off the festival at an Opening Gala with Cinematographer and frequent Hong Sangsoo and Bong Joon-ho collaborator Kim Hyung-ku in conversation on the 26 October. Following bemused characters in matters of the heart, this is "a black & white comedy of missed chances... a Rohmer-esque monochrome comedy of confusion" (Variety). The festival closes on 8 November (in London) with the UK Premiere of emerging director Kim Dae-hwan's Indie relationship hit from Locarno, The First Lap (2017) (followed by Director Q&A), which sees a directionless unmarried couple wade through family encounters and a potential pregnancy, in a fresh verité style that is both funny and heartwarming.

Two out of the five Korean hits to grace Cannes Film Festival this year were crime and action thrillers typical of the booming Korean Noir genre, illuminating the dark side of society: The Villainness (following a female assassin trained from a young age) and The Merciless (2017, Studiocanal, premiering at LKFF 2017), the latest feature from Byun Sung-hyun, a Tarantino-esque moody neo-noir thriller following double-crossing gangsters. “South Korea has such a turbulent modern history ridden with violence and political, social upheavals... I think that may be why we are good at making thriller movies like this," said Jung Byung-gil, director of The Villainness” (Daily Mail). It’s fitting that the festival shines a light on the killer genre this year with a full range of crime capers both old and new.

In America, Director Lee Myung-se was seen as Seoul's answer to Hong Kong's John Woo with his hit, Nowhere to Hide(1999), a highly stylised violent action noir and an influence on The Matrix. Kilimanjaro (2000) is the little seen, but highly accomplished feature from Oh Seung-uk, starring veteran actor Ahn Sung-ki and Park Shin-yang; an engrossing noir following a detective mistaken for his identical twin brother, a gangster. Die Bad (2000) is action maestro Ryoo Seung-wan's sensational debut made in 4 parts over 3 years, following two young men (played by Ryoo and Park Sung-bin) whose lives change forever after a deadly student brawl.

A Bittersweet Life (2005) is Kim Jee-woon's follow up to A Tale of Two Sisters (2003) a thrilling noir that shows the ultra violent consequences of falling for the wrong girl. A Dirty Carnival (2006) follows a low-level debt collector as he murders his way to the top, played by one of Korea's leading actors Jo In-seong. New World (2013, UK Home Ent. release by Eureka) is the second directorial feature from Park Hoon-jung, the writer behind The Unjust (Ryoo Seung-wan) and I Saw The Devil (Kim Jee-woon), in which undercover cops and shady policemen plot to gain control of Korea's biggest crime syndicate.Coin Locker Girl (2015) is a female crime melodrama from first time director Han Jun-hee starring veteran actress Kim Hye-soo as the psychotic crime boss known as 'mom' whose unsavoury trade includes organ trafficking and loan-sharking.

LKFF has pulled together the best Cinema Now 2016-2017, Korean films that are most widely available and making waves world-wide in cinemas and online. One such masterpiece is the European Premiere of In Between Seasons (2016) by first time director Lee Dong-eun, based on the director's own comic book, portraying an intimate family drama following two young gay lovers as they grapple with family life. Master (2016) which took 50.5 million dollars at the box office (topping the new Star Wars Rogue One), is a slick new financial action thriller that follows an investigator who pursues the president of a Korean company that's involved in fraud and corruption. It stars today's biggest actors Lee Byung-hun, Gang Dong-won and Kim Woo-bin. Come, Together (2017) is Director Shin Dong-il's new drama about a family of three whose ranks are collapsing - a rare insight into Korean society's highly competitive nature. Warriors of the Dawn (2017) is the popular Joseon Era drama filmed almost entirely outdoors, as a guerilla style road movie, following a group of mercenaries tasked with protecting the newly crowned prince. The Mimic (UK release in 2018 date tbc, Arrow Films) directed by Huh Jung is a chilling K-horror that follows a woman, haunted by the disappearance of her son, who is drawn to a local legend of a monstrous tiger that lures people into its cave. Crime City (2017) is an indie crime caper based on a true story, from director Kang Yoon-sung, that follows a detective (Ma Dong-seok), as he hunts down a Korean-Chinese gang headed by Yoon Kye-sang.

This is the second year of our Women’s Voices strand, showcasing four dramas and one documentary all from contemporary feminine points of view, films that are at the very heart of feminist politics. An extremely current and relevant documentary, Candle Wave Feminists (2017), deconstructs the misogyny and discrimination that was rife within the revolution that led to Park's impeachment and her spiritual mentor Choi Soon-sil's arrest. The feature debut by writer-director Lee Wan-min, Jamsil (2016) is a rare look at two women's transformative friendship, following a harrowing long-term breakup. My Turn (2017) focuses on pregnancy within the workplace, after a nurse becomes pregnant and tensions and backlash surface. Mild Fever (2017) captures the subtle rift between husband and wife, following a secret that surfaces from the past. Night Working (2017) follows a friendship between two factory workers, a Korean woman and a Cambodian immigrant.

Asian cinema expert Tony Rayns will introduce the UK to Korea’s Indie Firepower, a selection of films from the country’s most intriguing Independent filmmakers, including a special focus welcoming Artist filmmaker Jung Yoon-suk, whose films have focussed on Korean social and political life. The Home of Stars (2010) is a sardonic cage of modern Korean history andNon Fiction Diary (2013) deals with Korea's first serial murder case in the 1990s. His latest, Bamseom Pirates Seoul Inferno (2017) also screens at the BFI LFF (6 and 7 October), embracing nihilism, protest, politics and rebellion and a strong sense of humour following a young Korean, grindcore punk band. Also on show are two of his shorts, The White House in My Country (2006) and Ho Chi Minh (2007). This strand celebrates two other offbeat indies with Merry Christmas Mr. Mo (2016), an unusual tragi-comedy shot in black & white centered on a relationship between an ageing father (played by veteran actor Gi Jubong) and his semi-estranged son, and A Confession Expecting a rejection (2017) a daring and witty film that follows on and off screen characters as they discuss subjects ranging from failed relationships to dodgy film courses.

Dr. Mark Morris returns this year with another finely curated selection of Classics Revisited, focussing on 1980's veteran director Bae Chang-Ho, who began his career as assistant director to the great Lee Jang-ho (the focus of our Classics retrospective in 2016). Closely linked with the rising 'People's Movement' which campaigned against the authoritarian government, his first award-winning film The People of in the Slum (1982) echoes the issues of the people at that time. Adapted from a series of vignettes written by Lee Dong-cheol, Bae Chang-ho crafted a film echoing life at the bottom of society, and ended up having to adapt the social criticism in the script following hints from government censors, blending the tale of this three main characters into a whole new Korean genre - the Melodrama. In this short retrospective we'll see a key selection of his films: Whale Hunting (1984) is a much loved Korean road movie following two misfits and a woman wandering a snowy landscape, and The Dream (1990) Bae's second period film that follows the affair between a young Buddhist monk and a beautiful young woman. Bae wrote the script for The Dream along with aspiring assistant director Lee Myung-se, who had been his AD since Whale Hunting days.

Contemporary Korean Documentaries have arguably never been more vital in exposing insights into structural inequalities in South Korea, and advocating community building and political awareness. This year the Documentary strand focuses on the activist work of the feminist collective Pink Skirt whose films deal with LGBT and workers' rights - including Goodbye My Hero (2016) and the diptych Two Doors (2012) and The Remnants (2016) that show the fall out from a demonstration in 2009 against the redevelopment of Yongsan in Seoul, which left 5 people dead and 3 protesters in prison. We will also screen the long overdue Premiere of multimedia artist Park Kyung-kun's A Dream of Iron (2012), an industrial film symphony, looking at the scale of industrial machines and processes involved in constructing huge ships.

For the second edition, Artist Video (a collaboration with LUX | Artists’ Moving Image), sees two ‘Artist in Focus’ programmes with two prominent Korean artists working in film: Lim Minouk and Koo Donghee. Drawing their inspiration from political activist cinema from the 1970s (Lim) and contemporary television and Internet culture (Koo), their work is representative of the diversity and richness of contemporary Korean artists’ moving image. 6 video works from Minouk Lim (2003 - 2010) include political and poetical work that sides with the vulnerable and those that have been displaced. 5 video works by Donghee Koo (2003 - 2012) exemplify her highly staged portrayals of the banality of life, interrupted by accidental situations. Koo uses objects, spaces, animals - often aquatic - and actors who respond in real time, to unrehearsed situations.

Season 3 of the 2017 Korean Film Nights series at the KCCUK will showcase a range of films under the thematic banner
‘Patchworks: Unwrapping My Korean Cinema’.
The first screening in this series will be Shin Sang-ok’s 1959 classic ‘It’s Not Her Sin’, taking place on 20 July at the KCCUK.

Further information and booking details for the screening can be found on the KCCUK’s official website at:
http://london.korean-culture.org/en/38/board/614/read/82275

The LKFF’s 5th teaser screening of 2017 will be psychological thriller ‘Bluebeard’ (해빙 / 2017 / directed by Lee Soo-yeon), taking place on 10 July at Regent Street Cinema.

The official KCCUK/LKFF press release for the event is as follows:

“South Korea has become known for its gripping thrillers featuring psychopaths and serial killers yet Bluebeard offers something new as its mysteries unfold through the eyes of an increasingly unreliable narrator...
In a town with a history of unsolved murders, neurotic doctor Seung-hoon is given cause to believe the residents of the butcher shop he lives above are processing more than just meat after spotting a bloody bag and over-hearing a half mumbled confession. Could the creepy butchers possibly be a pair of serial killers or is the doctor losing his mind? In psychological thriller Bluebeard, director Lee Soo-yeon (The Uninvited) lays a trail of gruesome hints to keep the truth just out of reach of her paranoid protagonist.
Shouldering the burden of a plot rife with dramatic twists and chilling turns, lead actor Cho Jin-woong, recognisable to UK audiences from his role in Park Chan-wook’s The Handmaiden, provides a multifaceted performance as the fear-gripped doctor. He’s ably supported by the superbly sinister duo of Kim Dae-myeong (Inside Men) and veteran actor Shin Koo (Christmas in August) as his ominous butcher-shop neighbours.

With Bluebeard, director Lee Soo-yeon utilises the cramped, claustrophobic environments of a city that’s simmering under a history of serial killings and unsolved murders to expertly crank up the tension until the film’s shocking finale.”

Director: Lee Soo-yeon
Running Time: 117 min, Cert 15.
Cast: Cho Jin-woong, Shin Koo, Kim Dae-myeong, Lee Chung-ah

Booking: https://www.regentstreetcinema.com/programme/bluebeard/

Over the past few months, the PodcastOnFire network ( http://podcastonfire.com/ ) has continued to record and publish a number of new ‘What’s Korean Cinema?’ podcast episodes. As most of you will already be aware, each WKC episode features PodcastOnFire and Hangul Celluloid discussing either a new, contemporary Korean cinema release or an equally important but perhaps lesser known classic from years gone by.

The folowing are details of, and links to, the most recent WKC podcasts (episodes 25-30):

The 2016 Cambridge Film Festival (20-27 October) will be screening three Korean films - THE HANDMAIDEN, TRAIN TO BUSAN and THE BACCHUS LADY - in collaboration with the London Korean Film Festival.
Full details can be found at: http://www.cambridgefilmfestival.org.uk/strands/korean-cinema

The press release of the festival’s Korean film thread is as follows:

“The Cambridge Film Festival is delighted to be collaborating with the London Korean Film Festival (LKFF), organised by the Korean Cultural Centre UK on this year’s programme. The LKFF has selected three fantastic films that truly represent the best of modern Korean cinema, with the hope of developing an appreciation for Korean films amongst Cambridge audiences for years to come. The country’s best-known auteur, Park Chan-wook’s The Handmaiden is a sumptuous and sensual adaptation of Sarah Waters’ Fingersmith. Yeon Sang-ho’s thrill-ride Train to Busan is an exciting, emotive blockbuster, while The Bacchus Lady is provocative and challenging; everything a Korean indie feature should be. The 11th LKFF launches in November (3-27), playing over 60 films at six cities across the UK.”

The Hangul Celluloid website was recently asked by the London Korean Film Festival to write an article focusing on the career and importance to Korean cinema of actor Baek Yoon-sik, who is to be a special guest at the festival in November.
That Actor Focus article is now available on the LKFF’s website at: http://koreanfilm.co.uk/news/actor-focus-baek-yoon-sik

The official trailer for the 2016 London Korean Film Festival has been released:

The full programme line-up for the 2016 London Korean Film Festival 2016 has been announced.
See the screencapped images below for full details:

The 10th annual Korean American Film Festival NY will take place from 15-22 October in Brooklyn, New York.
This year, the festival will focus on Third Culture Cinema, "dedicated to the stories and voices of third culture kids, i.e., humans, of any national origins, raised with the tension of two or more cultures".

*KAFFNY 2016 will include an Incubator Lab programme featuring a number of films in development, including DOSI - directed by Jules Suo. You can read the Hangul Celluloid 2013 interview with director Suo (discussing DOSI) at:
http://www.hangulcelluloid.com/julessuointerview.html

KAFFNY THIRD CULTURE CINEMA
10th Annual: October 15-22
Brooklyn, NY

EVOLVED BRANDING
For its 10th annual cinema festival this October 15-22, 2016 at Wythe Hotel Cinema and Made
in NY Media Center by IFP, the Korean American Film Festival New York evolves into KAFFNY THIRD
CULTURE CINEMA.

"KAFFNY Third Culture Cinema is the only international cinema festival platform dedicated to the
stories and voices of third culture kids, i.e., humans, of any national origins, raised with the tension of
two or more cultures," states founder Dave Kim. "By challenging traditional cultural qualifiers of
nationality and ethnicity, KAFFNY Third Culture Cinema catalyzes new global trajectories of the future,
reducing the colonial divisions of the past."

BEST THIRD CULTURE FEATURE & SHORT COMPETITION + DIGITAL JURY
This year, KAFFNY hosts its first competition for Best Third Culture Feature(s) and Best Third
Culture Short. Films will be judged on contributions to the creation of third culture. KAFFNY will
announce in total, six feature films and seven shorts.
The feature competition will be decided by a Digital Jury, announcing their top pick for narrative
and/or documentary the day after Closing on Sunday, October 23rd via social media, using tags @kaffny
#3rdCulture. Andrew Ahn, director of the Sundance film SPA NIGHT, will serve as Head of Digital Jury.

CENTERPIECE MUSIC FEATURES
KAFFNY hosts the feature screenings of one Hip-Hop Documentary and one Rock Narrative,
bringing to light the stories of third culture musicians.

INCUBATOR LAB
KAFFNY is now promoting long-form works-in-progress supported under its new Incubator Lab
program. Leveraging its networks while instilling a community mentality, KAFFNY seeks to enable the
realization to fruition of typically under-marketed projects, offering administrative, technical, and creative
support to up-and-coming filmmakers.

UPCOMING EVENTS & DATES

IFP MARKETPLACE — 9/21
KAFFNY will be at IFP Marketplace during IFP Film Week: Wednesday, September 21st, 5:30-7:30PM at
Made in NY Media Center by IFP in Dumbo (30 John Street, Brooklyn), RSVP FREE (required).

LAUNCH PARTY (feat. INCUBATOR LAB) — 9/28
To introduce the festival program and to promote its Incubator Lab projects, KAFFNY hosts a Launch
Party: Wednesday, September 28th, 6-8PM at Juga (8 W 36th Street @5th Ave), RSVP FREE.

KAFFNY DIGITAL — 10/5-19
On its digital channel via partner viddsee.com, KAFFNY will be releasing three films weekly, leading up
to and during the festival, starting Wednesday, October 5th.

GENERAL

Sponsors:
Ford Foundation (Good Neighbor Committee)
viddsee.com (Asian shorts platform, Singapore)
Post Fin (DCP Services, Seoul)
Wythe Hotel Cinema (venue sponsor)
Made in NY Media Center (venue sponsor)
Juga (venue sponsor)
The Korea Times (print/digital news, Global)

Venues:
—Wythe Hotel Cinema (80 Wythe Avenue, Williamsburg, Brooklyn, NY 11249)
—Made in New York Media Center by IFP (30 John Street, Brooklyn, NY 11201)
—Juga (8 W 36th Street, New York, NY 10018)

Tickets:
Now available for purchase online (starting at $12): http://www.kaffny.org/schedule-2016/

Sponsorship:
Community Champions can sponsor at various levels: https://www.patreon.com/kaffny

Please visit http://www.kaffny.org for program updates and final schedule.

[London Korean Film Festival 2016: 3rd Teaser Screening]

Following the 1st and 2nd Teaser Screening of 'The Throne' and 'The Priest', The London Korean Film Festival and the KCCUK present director Lee Seok-hoon’s feature 'The Himalayas' at Regent Street Cinema on 4 August (Thursday), 7:30pm.
Regent Street Cinema is just off Oxford Circus tube station (309 Regent St, London W1B 2UW).

Director Lee Seok-hoon’s The Himalayas is produced by J K Youn (Ode to My Father) and stars one of the most talented actors from Korea, Hwang Jung-min (Veteran); this film is based on the life of legendary mountaineer Um Hong-gil (Hwang Jung-min) sent on a mission to retrieve the body of compatriot, Park Moon-taek (Jung Woo) from the slopes of Everest.

More information and to book: https://www.regentstreetcinema.com/programme/the-himalayas/
Watch the trailer (with English subtitles): https://www.youtube.com/watch?v=yn7qWjv6KbE

I'm excited to be able to announce that I will be giving an introductory talk prior to the Korean Cultural Centre UK 'Korean Film Nights' screening of SINGLES (싱글즈 / 2003), taking place at the KCCUK on 30 June 2016.
My talk will aim to give context to both the film's particular brand of humour and how it fits into the New Korean Cinema wave of the late 90s / early 2000s, discussing sadly missed actress Jang Jin-young in the process.

For those of you who haven’t yet seen SINGLES, I wholeheartedly recommend it, and for those who have I hope my talk will allow you to rewatch it with new perspective.

Entry to the screening is, as always, free but booking in advance is required at:
http://london.korean-culture.org/m/en/38/board/5/read/76399

The London Korean Film Festival is undertaking is a newly initiated film programme to extend the work of the annual film festival.
A number of teaser screenings throughout 2016 will take the best of Korea's recent films and present them at local cinemas in London.
The first of these events will be a Regent Street Cinema screening of ‘The Throne’ (2015 / directed by Lee Joon-ik), starring hugely popular actors Song Kang-ho and Yoo Ah-in.
The screening will be followed by a Q&A with director Lee Joon-ik.

Towards the end of last year, I was asked to write a ‘Best of 2015’ Korean cinema article for UK-based Korean culture website UnitedKpop. The article was posted on UnitedKpop’s site in the lead-up to Christmas 2015, and is still available at: http://unitedkpop.com/2015/12/guest-article-top-korean-movies-2015-hangul-celluloid/

Many thanks to Freya of UnitedKpop for requesting and featuring the article.

The start of the eighth annual Asia House Film Festival is just around the corner, with screenings taking place from 22 February until 5 March. This year’s Festival has a diverse programme of 19 films.

Opening the 2016 Festival at the Ham Yard Hotel in Soho will be Yermek Tursunov’s 2015 film Stranger (Zhat), Kazakhstan’s official submission for the Best Foreign Language Film at the 2016 Academy Awards. A beautifully shot outdoors epic set in 1930s Kazakhstan, the film charts one man’s search for freedom set against the historical backdrop of the country’s darkest years.

Thursday 25 February will see the Festival move to the iconic recently reopened Regent Street Cinema for the European premiere of Tursunov’s latest film Little Brother (Kenzhe). A sleek, contemporary hitman thriller, Little Brother sees brother pitted against brother, casting a cynical eye on where Kazakhstan is heading. Tursunov will participate in a director Q&A after this screening.

The Festival will continue at the Regent Street Cinema, hosting the European premiere of Korean-American director Benson Lee’s 2015 film Seoul Searching on 27 February. A romantic teen comedy set in the mid-1980s, the film features a group of diverse Korean high-schoolers from around the world who come together at a summer camp in Seoul to learn about their Korean heritage. Featuring a soundtrack of the era’s most fondly remembered tunes, the film goes beyond nostalgia to present a witty portrait of national, social and ethnic identity.

Chinese director Zhang Wei will join audiences at the Regent Street Cinema on 26 February for the European premiere of his gripping drama Factory Boss. The film presents an engrossing depiction of the ‘Made in China’ hallmark, delving deep into the country’s manufacturing culture from the perspectives of the workers and the executive suite. The film’s lead actor, Yao Anlian, won the Best Actor Award at the 2014 Montréal Film Festival.

Japanese director Shunji Iwai’s 2015 anime film The Case of Hana and Alice will be screened at the Regent Street Cinema on 27 February. A gently comedic prequel to Iwai’s 2004 live-action film Hana and Alice, the film sees two schoolgirls investigate an urban myth surrounding a mysteriously vanished former classmate. The film appears to be traditional Japanese anime, however it was shot using real actors and sets, then put through a digital rotoscope process (a form of retracing live-action footage).

Five short films will be screened across the Festival. French filmmaker Marc Johnson’s ultra-high definition 4K projection Yúyú will be shown at the opening night gala at the Ham Yard Hotel. A 2014 short With Time from Saudi filmmaker Malak Quota, depicting two sisters locked in a room, living their lives indulging in fantasies, will be shown on 27 February. Drama, a 2014 short from director Tian Guan and Panchagavya, a 2015 short documentary about the unique position of cows in India, will be screened on 27 and 28 February respectively. How to Cross (from Jiliz to Jiliz), a 2014 Armenian short film, will have its UK premiere on 28 February.

The Festival will close on 5 March with a special retrospective of films from 1960s and 70s Singapore at The Cinema Museum, Kennington. Each of the films chosen provides a fascinating insight into how Singapore is and was perceived by the rest of the world before and after the colonial era, tracing Western filmmakers’ encounters with the country’s rapidly changing culture and landscape.

Refer to the Asia House website for a full programme of screenings and to book tickets.

From now until Christmas Day, online streaming website FilmDoo is offering a 50% discount on all of its films, including its portfolio of Korean movies.
Just visit FilmDoo’s site at https://www.filmdoo.com/korean/ and enter the discount code BLACKFRI to access many Korean films at half price.

The London East Asian Film Festival – a brand new film festival bringing a range of exciting, new films from East Asia to the UK – will take place from 23-25 October in London.

“The London East Asia Film Festival (LEAFF) highlights the excitement, range, and achievement of East Asian cinema by introducing outstanding new films from the region to UK audiences. Challenging perceptions about East Asia and its cinema, LEAFF celebrates the diversity of filmmaking that exists in the region and the many imaginative ways Asian filmmakers draw from and contribute to their cultures. The festival’s mission is to take audiences on a continuously unfolding adventure of cinematic discovery.”

LEAFF full line-up and timings:

VETERAN: Ryoo Seung-wan | Action Crime | South Korea | 124min | 2015, European Premiere, Q&A with director Ryoo Seung-wan and producer Kang Hye-jung
Opening Gala, Friday 23rd Oct, 7pm, Odeon Leicester Square.

KAILI BLUES: Bi Gan | drama | China | 110min |2015, UK Premiere
Saturday 24th Oct, 3pm, Odeon Panton Street.

JOURNEY TO THE SHORE: Kiyoshi Kurosawa | drama | Japan| 128min | 2015, UK premiere
Saturday 24th Oct, 6pm, Odeon Covent Garden.

VIOLATOR: Dodo Dayao | Horror | Philippines | 101min | 2014, UK Premiere
Saturday 24th Oct, 9pm, Odeon Covent Garden, co-presented with Terracotta Distribution.

OFFICE: Hong Won-chan | Thriller | South Korea | 111min | 2015, UK Premiere
Sunday 25th Oct 1pm, Odeon Panton Street.

CHASUKE'S JOURNEY: Sabu | comedy | Japan | 106min |2015, UK Premiere
Sunday 25th Oct, 3.30pm Odeon Panton Street.

SPL2 - A TIME FOR CONSEQUENCES: Soi Cheang | Martial Arts Action | Hong Kong China | 118min | 2015, UK premiere
Sunday 25th October 7pm, Odeon Leicester Square.

Venues:
-   Odeon Leicester Square: 24-26 Leicester Square, London WC2H 7LQ
-   Odeon Covent Garden: 135 Shaftesbury Avenue, London WC2H 8AH
-   Odeon Panton: 11-18 Panton Street, London SW1Y 4DP
Tickets can be booked at: http://www.odeon.co.uk

About the opening film VETERAN:

Directed by Ryoo Seung-wan (CITY OF VIOLENCE, THE UNJUST, THE BERLIN FILE).
A comic action extravaganza, Veteran pits hyperviolent, incorruptible police detective Seo Do-cheol (Hwang Jung-min) against superrich, sociopathic corporate heir Cho Tae-oh (Yoo Ah-in), first brought together at the afterparty of a TV cop show, and then playing out their punishing duel before CCTVs, cellphones and other cameras. It is an exciting, often very funny dash across Korea's social divisions and class inequalities, culminating in the kind of thrilling, elaborate and hilariously over-the-top action sequences that have become Ryoo’s stock in trade. Aided by the dynamic choreography of long-time collaborator Jung Doo-hong, director RYOO takes the audience on a wild ride through Korea's rough justice, Gangnam-style or otherwise. Released in domestic cinemas in August, the film has already struck a chord with local audiences, becoming one of the most popular films of all time in its country.

About Festival Director Mrs Hye-Jung Jeon:

Hye-Jung Jeon has been the programmer and festival director of the London Korean Film Festival for 9 years. She has organised extensive festivals in other arts sectors including music, performance and fashion. She is the founder of the K-Music Festival and K-pop Academy. To introduce Korean cinema in the UK, she organised a retrospective of works by director Hong Sang-soo with the ICO touring around 20 cities. She has also collaborated with the BFI for a retrospective of director Im Kwon-taek’s films.
Furthermore, she has invited representative figures of Korean cinema including director Park Chan-wook, Bong Joon-ho, Kim Jee-woon, Choi Dong-hoon, Ryoo Seung-wan to provide opportunities to meet with the London audience. Collaborating with film schools in the UK, she organised visits for key filmmakers from Korea to give talks to the students. For 8 years, she organised free Korean film nights which included a ‘Year of 12 Directors’ and a ‘Year of 4 Actors’. At present, she is the director of the London East Asia Film Festival that was founded by her. She was awarded by Bom Film Productions for the contribution to Korean cinema with the recommendation of Korean directors and actors. Working closely with UK distribution companies, she continues to provide a platform for introducing Asian cinema to the local audience.

Ministry of Culture, Sports and Tourism for the Republic of Korea - ‘Korea National Branding’ contest:

The Hangul Celluloid site has received an email from The Ministry of Culture, Sports and Tourism for the Republic of Korea regarding a ‘Korea National Branding’ contest. Contest prizes include an 'Enjoy Korea Voucher’ consisting of round trip flight tickets, 2 nights accommodation, and K-POP star concert tickets for two.

I've been asked to draw attention to and promote this incredible contest and I am of course happy to do so.
Full information and entry details can be found via the links below.

“First and foremost, I deliver our gratitude for your interest in Korea.
The Ministry of Culture, Sports and Tourism for the Republic of Korea is hosting a ‘Contest on Korea National Branding’ to bring about national unity by connecting the social segmented phenomenon with cultural assets.
On this occasion, I request your kind support to encourage members of ‘Hangul Celluloid' to the above contest.
If possible, providing your feasible ideas such as posting this contest, sending emails etc. to encourage your members would be most appreciated by us.

Mainly, the ‘National Branding Contest’ and ‘Keyword Event’ are taking place on our website http://koreaourstories.kr/2015/what-is-your-koreanness/.
Particularly, the ‘Enjoy Korea Voucher’ including round trip flight tickets, 2 nights accommodation, and K-POP star concert tickets for two will be gifted to each of the winners participating in the event.
Please refer to our homepage http://koreaourstories.kr/research_eng/ for more information and participation.

I thank you in advance for your kind support and please don’t hesitate to contact us with your ideas and inquiries.”

The screening line-up for the 2015 London Korean Film Festival has been announced.
Full details can be found below (content and images are the copyright of the 2015 London Korean Film Festival).
(A pdf of the full line-up can be downloaded from the LKFF official website at: http://www.koreanfilm.co.uk )

The 2015 LKFF screening schedule (dates, times, etc.) will be available soon.

On 21 September 2015, the press launch for the 2015 London Korean Film Festival took place in the Soho Hotel, London.
To coincide with this official launch of the festival's 10th year, the first LKFF2015 press release was made availble to all attending.
Full scans of the press release can be found below, and I'm sure you'll agree this year's LKFF is already shaping up to be one of the most exciting yet.

*Once the festival schedule is 100% confirmed, full screening details will be available on the LKFF's official website at:
www.koreanfilm.co.uk

The Hangul Celluloid site was recently asked to write two articles to appear in the Korean Cultural Centre UK's July-August Newsletter; one discussing traditional Pansori Korean singing and adult Pansori folktale 'Madame Ong', the other giving a brief overview of the Korean Film Archive at the KCCUK.
The KCCUK Newsletter is available in print (free of charge) from the Korean Cultural Centre UK but for those outside London both articles have been screencapped and posted below:

Issue #20 of ‘Unfolded’ magazine is now available to read (free) online. As always, the issue features a Hangul Celluloid written article (in this case, a dissection of several Korean documentaries; on pages 34-37).
You can read 'Unfolded' #20 at: http://unfoldedmag.com/unfolded/issue20

Episode 14 of PodcastOnFire's 'What's Korean Cinema?' series is now online.
This episode features myself (HangulCelluloid) and Ken (Podcastonfire) discussing Im Kwon-taek's 'The General's Son' and Ra Hee-chan's 'Going by the Book'. The WKC 14 podcast can be found at: http://t.co/D6XYNmgt5P

Issue #19 of ‘Unfolded’ magazine is now available to read (free) online. As always, the issue features a Hangul Celluloid written article (in this case, a lengthy ten page dissection of the films and burgeoning career of talented director OH In-chun; on pages 60-69):
You can read 'Unfolded' #19 at: http://unfoldedmag.com/unfolded/issue19

East Winds, the UK’s only major showcase of East Asian cinema outside of London and the first of its kind in the Midlands, returns to Coventry between 31st October and 2nd November 2014 with a stunning selection of popular film from Taiwan, Hong Kong, China, Thailand and Japan, reinforcing its status as one of the most prestigious events in the region.
Opening the festival on Friday is the European Premiere of the dark, brooding and sinister Taiwanese tale "Partners in Crime" from acclaimed director Chang Jung-chi who takes the teenage angst into an entirely more mature and disturbing area. On the night, Japanese black comedy "Greatful Dead" from Third Window Films will follow a young woman with a dysfunctional childhood as she transitions from a peeping tom spying on people who have gone crazy from loneliness into a full-fledged stalker of old men. Touching or disturbing?
Viewers will be kept on the edge of their seats on Saturday with an assortment of highly anticipated films. Starting things off with a chilling glimpse into twisted minds is Third Window Films' Presentation of Isogai Nagisa's short thriller "Lust of Angels" as a group of schoolgirls go on a hunt for gropers.
From acclaimed director Sophon Sakdaphisit comes box office hit "Laddaland", a horror based on the real story of a haunted condo development which will remind audiences of "The Amityville Horror" and "Poltergeist". Following this, Louis Koo will play a tense game of cat and mouse with the high-powered fat cats of Hong Kong in the European Premiere of David Lam's first film in 15 years, "Z Storm".
Saturday night will play host to the International Festival Premiere of "The Swimmers", the latest intricate horror from Thailand's champion of scares and slow burn chills, Sophon Sakdaphisit.
Playing for the first time in Europe and closing the second day is Japanese/South Korean co-production "A Record of Sweet Murder" from Koji Shiraishi, one of Japan's leading directors in underground horror, who converges deranged fantasy and stark reality into a terrible nightmare.
The last day of the festival brings with it a lighter tone, kicking off with the International Festival Premiere of romantic comedy "Live @ Love", featuring a cast of rising stars in Taiwanese TV and film as they work in an inconspicuous private detective agency.
A first in the international festival sphere, Sunday afternoon will deliver a throwback to the classic Hollywood B-movies of the '60s and '70s with "Bugs". Shockly fun and scares in real 3D await.
Renowned director Clifton Ko will be bringing his family drama "Wonder Mama", featuring a superb performance from Petrina Fung Bo Bo as a 49-year old librarian whose mellow world is shattered when she learns her teenage maid has been impregnated by her 70-year old father, and finds herself torn between her parents' divorce at on old age, the pressure of raising the new-born, her missing husband and her 30-year old unemployed son who still lives with her.
In the past, East Winds Closing Ceremonies have left attendees wanting more and this year is no different. The European Premiere of Nithiwat Tharatorn's Thai box office smash hit "The Teacher's Diary", which has been selected as the official entry into the Oscars' foreign-language division, will bring a sweet and sentimental comedy-drama that follows the intertwining stories of two lonely teachers posted to the same rural school a year apart.
The festival will also be offering audiences an exclusive behind the scenes look at East Asian cinema by inviting special guests to introduce their films and mingle with audiences.
The full schedule and tickets are now available at www.eastwindsfilmfest.com.

Several notable Korean films will be screened as part of this year's BFI London Film Festival (8-19 October).
Full details and screening dates for each of the films - <Hill of Freedom>, <A Hard Day>, <A Girl at My Door> and <The Satellite Girl and Milk Cow> - are as follows:

Tickets for the BFI London Korean Film Festival 2014 go on sale at 10am on September 18th and will be available for purchase through the BFI's website at: http://www.bfi.org.uk/lff

LONDON KOREAN FILM FESTIVAL 2014
6 November - 21 November 2014 / London, Norwich, Aberystwyth and Hebden Bridge

The 9th London Korean Film Festival will open on 6 November 2014 at the Odeon West End, Leicester Square.
The festival will run for 2 weeks - featuring over 50 Korean feature films and shorts from a vast array of genres.

Issue #17 of 'Unfolded' magazine is now available online and in print. As always, this latest issue includes an article written by Hangul Celluloid (in this case discussing depictions of disability in Korean cinema; on pages 64-68).

Third Window Films (http://thirdwindowfilms.com) will release 'Bleak Night' (2010 - directed by Yoon Sung-hyun) on DVD in the UK on May 26th, 2014.

Separately, 'Pluto' (2012 - directed by Shin Su-won) will be released in UK cinemas (again by Third Window Films) on June 6th, followed by a subsequent UK DVD release.

DVDBANG, the UK 'pop-up' Korean cinema, will be present at the Sci-fi London Film Festival (May 25 - May 27); allowing visitors to book a slot to watch Korean films in the DVDBANG booth. Booth slots are free but must be booked in advance.

An overview of DVDBANG and the slots currently available at Sci-fi London can be found in the images below:

The full line-up for the forthcoming 2014 Terracotta Far East Film Festival (running from 23 May - 1 June) has been announced.
Among the numerous films from many Asian territories being shown, three Korean films will be screened during the festival:
'Moebius' (directed by Kim Ki-duk) on May 30, 'Commitment' (directed by Park Hang-soo) on May 31, and 'The Face Reader' (directed by Han Jae-rim) on June 01.
Full screening details for the festival can be found (and tickets bought) at:
http://terracottafestival.com

You can read the Hangul celluloid review of 'Moebius' by clicking here
and the Hangul Celluloid review of 'The Face Reader' can be found here

The Hangul Celluloid Birthday Celebration Competition is now closed and winners have been randomly chosen from correct entries by a third party. Congratulations to winners Ana Brdar (Boomerang Family DVD) & Marie Zajacova (Directory of World Cinema: South Korea)... Prizes will be sent out by Royal Mail in the next 24-48 hrs.

(The answer to the competition question "Which film did I describe on the Hangul Celluloid site as '*the* romantic comedy of 2012, period.'?” was 'My P.S Partner' (나의 PS 파트너) aka 'Whatcha Wearin'?')
You can read the Hangul Celluloid review of the film at: http://www.hangulcelluloid.com/mypspartner.html

To celebrate the sixth birthday of www.hangulcelluloid.com (March 23rd 2008 - present), I've decided to run a competition to win some Hangul Celluloid related 'goodies' (two prizes, one winner each).
The competition is open to worldwide entries.
Full prize and entry details, as well as competition terms and conditions, can be found below:

Prizes (two prizes, one winner for each):

1: 'Boomerang Family' UK DVD (Region 2):
DVD Special Features include the filmed Hangul Celluloid interview with director Song Hae-sung, actress Youn Yuh-jung and actor Yoon Je-moon.

2: Intellect Books' 'Directory of World Cinema: South Korea':
Features a genre overview and film reviews written by Hangul Celluloid.

How to Enter:

As the Hangul Celluloid-written Genre Overview appearing in the 'Directory of World Cinema: South Korea' relates to Romantic Comedy, the competition question is:

Question: Which film did I describe on the Hangul Celluloid site as "the romantic comedy of 2012, period."?
(Hint: The answer can be found in two fairly obvious places on www.hangulcelluloid.com)

Email your answer along with your name to: info@hangulcelluloid.com using 'Competition' as the subject.

(As a small bonus, each prize will also include an exclusive Hangul Celluloid branded tote bag).

Terms and Conditions:

The Hangul Celluloid Birthday Celebration Competition is open to entries worldwide.
The competition will close promptly at the end of March 23rd (GMT) at which point two winners (one for each prize) will be chosen at random from correct entries by a third party unconnected to the Hangul Celluloid site.
Winners will be notified by reply email on March 24th and asked for their preferred delivery address.
Prizes will be sent out within 24 hrs of receipt of prizewinners' delivery addresses.

Please note: The address provided by each winner will be used solely to send out the competition prize by mail and thereafter all note of it will be deleted.
Details of a prizewinner's delivery address will be required within seven days of the close of the competition. If a delivery address has not been received by the end of March 31st (GMT), the entry will be deemed null and void and a new winner will be chosen at random from correct entries.

The 'Chocolate Liberation Front' has created an interactive website called 'Kim Jong-il's Cinema Experience' - featuring an 8-part documentary on North Korean Cinema and Kim Jong-il's influence on the industry, available to watch free.
The site also provides users with the tools to create their own North Korean-inspired film; as well as a few NK-cinema related activities.

You can check out the site at: www.northkoreancinema.com

DVDBANG – the UK version of the iconic, hugely popular private cinema rooms found throughout 24-hr districts of South Korea – will be officially launched at Birmingham’s Flatpack Film Festival running from March 24-30; allowing customers to browse an extensive SK-film library, eat and hang out with friends and watch a South Korean film… or two.

Further details can be found in the attached press release.
You can also visit DVDBANG's website at: http://dvd-bang.com/

On February 24th, 'Boomerang Family' was released on DVD in the UK by Third Window Films. The DVD's Special Features include the Hangul Celluloid filmed interview with Boomerang Family's director, Song Hae-sung, and main cast members Youn Yuh-jung and Yoon Jae-moon.
For those of you who check out the DVD, I hope you enjoy watching the interview as much as I enjoyed making it.

In conjunction with the Korea Market Focus Cultural Programme for The London Book Fair 2014, the Korean Cultural Centre UK will be hosting an additional 'Korean Novels on Screen' special film screening programme (in addition to the fortnightly Korean Film Nights); each Tuesday from March 4th to April 1st, at 7pm.

This programme will feature five films - ‘The Road to Sampo’; ‘Portrait of Youth’; ‘The Scarlet Letter’;
‘Leafie: A Hen into the Wild’; and ‘Moss’ - each based on a novel by one of five contemporary Korean writers who are
participating in the London Book Fair 2014.

Entry to each of the screenings is free but booking in advance is required.

Seats for the screenings can be booked at:
http://bit.ly/1gn8SpR

For those of you residing in North America, Park Chan-wook's 'Vengeance Trilogy' will be shown on FEARnet on February 6th (8pm EST). Full details can be found at http://www.fearnet.com/ or by clicking the Palisades Tartan press release below:

Issue #16 of 'Unfolded' magazine is now available online and in print. As always, this latest issue includes an article written by Hangul Celluloid (entitled 'Suffer the Children' and consisting of two Korean film reviews, an overview and a director interview); on pages 84-89.

Episode #11 of Podcast On Fire's 'What's Korean Cinema?' series is now online at:
http://podcastonfire.com/2013/12/whats-korean-cinema-11-barefooted-youth-failan/

The episode features myself (@HangulCelluloid) and Ken (@PodcastOnFire) discussing 'Failan' (파이란 - 2001) and 'Barefooted Youth' (맨발의 청춘 - 1964).

I've been asked by Arrow Films to remind those of you in London that 'The Taste of Money' (돈의 맛 - directed by Im Sang-soo) opens at Curzon Soho (London) tomorrow and continues until October 31st.
Tickets for the screenings can be booked on Curzon Soho’s website at:
https://www.curzoncinemas.com/booking/default.aspx?venueid=cso

As previously mentioned, you can read the Hangul Celluloid review of the film at:
http://www.hangulcelluloid.com/tasteofmoney.html

You can also read the 2010 Hangul Celluloid interview with director Im Sang-soo by clicking here.

I’ve been asked to draw your attention to Boke Film’s Kickstarter crowd-sourcing project as part of the company’s efforts to create a Korean American feature film set in NYC; to be entitled ‘Dosi’.

The film’s lead actress will be Lee Eun-woo who recently gave an utterly memorable performance in Kim Ki-duk’s 2013 film ‘Moebius’.
Boke Films also previously made a short film called ‘528 New York’ which will be screened at the Korean American Film Fest NY later this month and the aforementioned feature-length production will have the same cast with a different storyline.

You can find the Kickstarter project at: http://kck.st/16Od8is and short film ‘528 New York’ is currently available to view on Vimeo at: https://vimeo.com/69033955

‘Dosi’ Background and Synopsis:

“Dosi is a dramatic thriller written and directed by Jules Suo.
It tells the story of several New Yorkers. Nari is a working actress, from Korea living in New York City, who is faced with a difficult decision to overcome her fears after being assaulted by a stranger. Nari's need for escapism leads her to a remote road in Upstate NY, but while driving she gets into a accident, thereby setting off an interlocking story involving three different lives in New York City.
Ahmed, is a cab driver, who tries to look out for his younger brother and mother who remains back in Egypt. Trouble brews for his younger brother Amr as the Egyptian revolution unfolds. Julian, the child of a hard working immigrant family, is a top swimmer at his Brooklyn high school aspiring to be a professional swimmer. He is wrongfully accused of a crime by the police and is beaten and shamed…”

SnagFilms and DramaFever 'Korean Drama Channel' partnership:

SnagFilms (www.snagfilms.com), a well-curated free online content streaming site that focuses on critically-acclaimed, foreign, art house, and documentary films, has announced a new Korean Drama Channel partnership with DramaFever; to feature some of the best Korean drama content on its website.

Further information can be found at:
SnagFilms
www.snagfilms.com
@snagfilms
www.facebook.com/snagfilms

'A Blood Pledge' and 'Pieta' on UK DVD:

'A Blood Pledge' (여고괴담5-동반자살 / 2009) and 'Pieta' (피에타 / 2012) will both be released on DVD in the UK on Monday, October 14th 2013.

Both films are available on Amazon at http://amzn.to/16Ft8RJ and http://t.co/CfDM5v0UbX respectively.

As already stated in an earlier post, you can read the Hangul Celluloid review of 'Pieta' at:
http://www.hangulcelluloid.com/pieta.html

Preparations are underway for the third East Winds Film Festival taking place between October 31st and November 4th at Coventry University. As well as the film festival itself, East Winds will also be holding a symposium consisting of a number of talks, pre-formed panels and workshops relating to 'East Asian and South East Asian Cinema on a Global Stage'.

The East Winds Film Festival press releases and symposium 'Call for Papers' are as follows:

EAST WINDS FILM FESTIVAL 2013 (October 31st – November 3rd)

FOR IMMEDIATE RELEASE

A host of big names from the East Asian movie scene will be arriving in Coventry for a prestigious international film event.

The East Winds Film Festival – the UK’s only major showcase of East Asian cinema outside London and the first of its kind in the Midlands – will take place in Coventry University’s state-of-the-art digital 3D cinema at its student centre, The Hub, from Thursday 31st October-Sunday 3rd November.
Now in its third year, the festival – which will feature 12 exclusive screenings over four days – is sponsored by Nissan and hosted by Coventry University’s award-winning East Asian Film Society in association with Third Window Films, the UK’s largest distributor of Japanese film.

A celebration of East Asian film and culture, the festival showcases the work of artists from Hong Kong, China, Japan, Thailand and Vietnam in genres ranging from action and horror through to comedy and romance. The festival features a special ‘East Wind Chills’ theme on Halloween, with an exclusive double bill of horror films from Asia.

All of the films being shown throughout the four day festival are receiving either International, European or UK Premieres, including the opening night screening on Friday 1st November of Vietnamese actor-director and martial artist Dustin Nguyen’s hotly anticipated Once Upon a Time in Vietnam (Vietnamese title: LửaPhật). A familiar face to western audiences thanks to his long running role in crime drama 21 Jump Street, and a long list of starring and supporting roles in US film and TV, Nguyen has assembled the cream of the Vietnamese cinema industry to produce a unique fantasy action film.
A landmark in Vietnamese cinema in terms of scale and production values, Once Upon a Time in Vietnam has already been picked up by Lionsgate for a US release later this year and this screening in Coventry marks the European premiere of this epic saga which blends swordplay, science fiction and super-powered martial arts.
The East Winds trailer for Once Upon a Time in Vietnam is available to view online. Director and star Dustin Nguyen said: “It is with much pleasure that I present Once Upon a Time in Vietnam in the UK. It has always been a desire for me to have Vietnamese cinema exposed to the rest of the world, and I look forward to interacting with British audiences and sharing our mutual passion for films.”

Spencer Murphy, senior lecturer in film and visual culture and organiser of the East Winds Film Festival, added: “I am very proud to confirm that East Winds is returning for its third year at Coventry University. I am also delighted to be working alongside our incredibly supportive festival partners Nissan once more on this wonderful celebration of East Asian film, culture and society.
“I look forward to welcoming viewers to the East Winds Film Festival 2013 to enjoy some unique and compelling films, and as is now tradition, to mingle with the stars, directors and other creative people associated with the films on show.”
Nissan’s executive vice-president Andy Palmer, who holds an honorary doctorate of technology from Coventry University, will be among the guests at the official opening of the festival.
He said: “Nissan is absolutely delighted to support what is now one of the most important showcases for East Asian cinema in the UK and a very important cultural event for the local community.”

The East Winds Film Festival takes place from Thursday 31 October to Sunday 3 November 2013 at The Hub, Jordan Well, in Coventry city centre (CV1 5FB). A full schedule of films and announcements on special guests appearing at the festival will be announced shortly.
In the meantime, further information about the festival, including details of how to book tickets, is available on the website www.eastwindsfilmfest.com.

12 MAJOR AND EXCLUSIVE FILM SCREENINGS OVER FOUR DAYS, SHOWCASING POPULAR EAST ASIAN CINEMA FROM HONG KONG, CHINA, JAPAN, THAILAND AND VIETNAM.
ACTION. HORROR. COMEDY. ROMANCE. PREMIERES. SPECIAL GUESTS. EVENTS. PARTIES.

The annual East Winds Film Festival returns this autumn to Coventry University for its third year, even bigger and better than before. Join us for the only major film festival of East Asian cinema outside of London and the first of its kind in the Midlands, UK. A unique Film Festival delivered by students of the award-winning Coventry East Asian Film Society, in partnership with official festival sponsor Nissan.

With 4 International Premieres, 5 European Premieres and 3 UK Premieres screened over 4 days, be the first to see major blockbuster releases from East Asia at the purpose built digital cinema facility at the HUB, Coventry. This year’s event will commence with a special ‘East Winds Chills’ strand on Halloween Night - an exclusive double bill of Horror films from Asia.
Special guests from the East Asian film industry will be flying into Coventry to introduce their films, take part in Q&A sessions, and mingle with the audience.

East Winds Film Festival is delighted to open with the European Premiere of the most anticipated movie in Vietnam and across Asia this year - the epic martial arts sci-fi fantasy 'Once Upon A Time in Vietnam', directed by and starring Dustin Nguyen.

A passion project for Nguyen for many years, the film offers a unique blend of swordplay, super powered martial arts and science fiction imagery, and is a landmark production in Vietnamese cinema, in terms of scale and production values. The film rights have already been sold all over the world, and the film has recently been picked up by Lionsgate for a US release later this year.
“… Once upon a time, foreign invaders came from distant lands to conquer our beloved country. Time and time again, they’re exorcized by the most elite of the monk-hood. The elite of the elite of these were known as The Masters. When peace was restored, some of their Brothers returned to the sanctity of The Temple. But the Masters stayed behind, bound by an oath to protect the Emperor. Some say they were forced to make the ultimate sacrifice for their country. But ask those who have been to battles, once your eyes have seen war, there is no returning home.”

For details on film schedule and tickets, please visit www.eastwindsfilmfest.com.

TICKETS:
STUDENT TICKETS £3.50 | GENERAL £5.00
EARLY BIRD FESTIVAL PASS ONLY £20 – offer ends September 30th
STUDENT FESTIVAL PASS £30 | GENERAL PASS £45

Now in its third year, the East Winds international symposium and Film Festival (sponsored by Third Window Films and Nissan UK) organised by Spencer Murphy (Coventry University) and Colette Balmain, funded by Coventry University, seeks papers on the impact of East and South East Asian Cinema on global cinema in relation to fears around the disappearance of national and cultural specificity as a result of the processes and practices of globalisation.

Coming out of the work of the award-winning CUEAFS (Coventry University East Asian Film Society), we would actively encourage student papers and presentations alongside papers by people involved in the practice and promotion of East and South East Asian Cinemas. Pre-formed panels, workshops, presentation of work-in-progress, and papers are sought. Pre-formed panels of 3 people are advisable. Suggested areas are below, but we welcome proposals on other areas of interest which fulfill the main purpose of the symposium.

Practicing Globalisation
Asian directors in Hollywood
Western directors in Asia
Localization, translation and remakes
Diasporic directors
Orientalism and Occidentalism
Localization, Glocalization and Globalisation

The Promotion of Globalisation
Film festivals
Government policies and industrial practices
Domestic and International Versions of the same film
Subtitling and dubbing practices
DVD and streaming services
Fan practices
Journalism, blogs and internet presence
Cultural centres and promotion

The Global Subject?
Gender and nation
Ethnicity and imagined communities
Whiteness and white privilege and the loss of cultural identity
Sexuality and identity politics
Class identities and bourgeois politics
Cosmopolitanism

Other cinemas?
Independent Cinema
LGBT cinema, censorship and production practices
Short films
Extreme and exploitation cinema

Students and unwaged delegates: £20.00 (includes a festival pass)
Waged delegates: £50.00 (includes a festival pass)

Please send a 150 – 200 word abstract for a 20 minute paper to Spencer Murphy: aa1261@coventry.ac.uk.

Arrow Films will release 'The Taste of Money' (2012 - Directed by Im Sang-soo) in UK cinemas on October 25th.
In the lead-up to the release, the official UK trailer of the film has also been made available and can be viewed below:

You can read the 2010 Hangul Celluloid interview with director Im Sang-soo by clicking here.

Issue 15 of 'Unfolded' magazine is now available online and in print. As always, this latest issue includes an article written by Hangul Celluloid; entitled 'Love's a Funny Thing' and consisting of three reviews and an overview.

I'm really pleased to be able to say that this year the Hangul Celluloid website is once again a Media Partner of the Korean Film Festival in Australia.
KOFFIA 2013 begins in Brisbane on August 14th and during the festival I will, among other things, post regular links to the Hangul Celluloid reviews of the majority of films being screened.

Tickets for the many films showing at the festival can now be booked on KOFFIA’s official website at: http://koffia.com.au/

Palisades Tartan has announced that a Special Edition Blu-ray of 'A Tale of Two Sisters' will be the first release of its forthcoming ‘Black Collection’.
The Special Edition Blu-ray will be released on October 22nd 2013.

You can read the Hangul Celluloid review of 'A Tale of Two Sisters' at: http://www.hangulcelluloid.com/taleoftwosisters.html

Beginning its Choi Min-sik film season as part of the 'Year of the 4 Actors' series, the Korean Cultural Centre UK will be holding a free screening of 'Failan' (2001 - directed by Song Hae-sung) on Thursday, July 11th at the KCCUK in London.
Entry is free but booking in advance is required.
Places for the screening can be booked at:
http://www.kccuk.org.uk/navigator.do?menuCode=201104050063&action=VIEW&seq=773

The Choi Min-sik film series will culminate in September with a personal appearnce at BAFTA in London by actor Choi Min-sik himself for a special screening of one of his films and audience Q&A.

Continuing its Jeon Do-yeon film season, the Korean Cultural Centre UK will be holding a screening of 'The Housemaid' (2010 - directed by Im Sang-soo) on Thursday, June 27th at the KCCUK in London.
Entry is free but booking in advance is required.

Please note: Actress Jeon Do-yeon had originally been scheduled to attend the screening in person and hold an audience Q&A session but as she is currently filming on set in Korea she will be unable to visit the UK at this time. As such, the screenng of 'The Housemaid' will take place in the KCCUK's multi-purpose hall.

Places for the screening can be booked at:
http://www.kccuk.org.uk/navigator.do?menuCode=201104050063&action=VIEW&seq=763

Issue 14 of 'Unfolded' magazine is now available online and in print. The issue includes an article written by Hangul Celluloid giving an overview of depictions of North Korea in South Korean cinema.

Terracotta Distribution will be holding a special screening of 'Hansel & Gretel' (2007 - directed by Yim Phil-sung) on Wednesday 26th June 2013 at the Prince Charles cinema in London. The screening forms part of Terracotta Distribution's monthly 'Terracotta Film Club'.
Tickets are priced at £7.50 (£5 for Prince Charles cinema members) and places can be booked at:
http://www.princecharlescinema.com/events/events.php?seasonanchor=terracottafc

Continuing its Jeon Do-yeon film season, the Korean Cultural Centre UK will be holding a screening of 'Secret Sunshine' (2007 - directed by Lee Chang-dong) on Thursday, June 13th at the KCCUK in London.
Entry is free but booking in advance is required.
Places for the screening can be booked at:
http://london.korean-culture.org/navigator.do?menuCode=201104050063&action=VIEW&seq=756

I'll also be one of several people involved in a group interview with director Ryoo Seung-wan as part of the Terracotta Far East Film Festival, in the next few days.
As always, the full interview will be transcribed and available in the Interviews section of this website within a couple of days of it taking place.
In the meantime you can read the 2011 Hangul Celluloid interview with director Ryoo at:
http://www.hangulcelluloid.com/ryooseungwaninterview.html

And finally, 'A Werewolf Boy' (2012) will be screened on Sunday, June 9th:
http://terracottafestival.com/festival-films/werewolf-boy/
You can read the Hangul Celluloid review of the film at:
http://www.hangulcelluloid.com/werewolfboy.html

I was very fortunate to be given the chance to interview director Yi Seung-jun in 2012 and we talked at length about 'Planet of Snail'.
You can read the full interview at: http://www.hangulcelluloid.com/yiseungjuninterview.html

Continuing its Jeon Do-yeon film season in the lead-up to the actress' appearance and Q&A in London in the next couple of months (date TBA), the Korean Cultural Centre UK will be holding a screening of 'I Wish I had a Wife' (나도 아내가 있었으면 좋겠다 - 2000) on Thursday May 30th at the KCCUK in London.
Entry is free but booking in advance is required.
Places for the screening can be booked at:
http://london.korean-culture.org/navigator.do?menuCode=201104050063&action=VIEW&seq=745

Forming part of the Korean Cultural Centre UK's ongoing 'Women on Screen' series of film screenings (May 9th-Aug 22nd), 'Madame Freedom' (1956) will be screened on Thursday May 23rd at 7pm.
Please note that as the film will be screened in the KCCUK's Digital Archive, only 40 places are available so do book your seat as soon as possible at:

I've received several messages recently enquiring about the 2013 'Korean Film Blogathon':
The Blogathon takes place over a week each year and consists of academics, bloggers, website owners and independent writers creating as much high quality Korean cinema-related content as is humanly possible which is then made available en mass on a number of websites.
The Korean Film Blogathon organisers (including Hangul Celluloid) are currently striving to make this year's event utterly "epic" with the involvement of several prestigious organisations around the world.

As such, the 2013 Korean Film Blogathon is set to take place in September (specific dates TBC) and I hope as many of you as possible will take part.
I'm deeply excited about the prospects for the Blogathon this year, as I'm sure you are.

First-time director Jeehyun Kwon is currently filming a collaborative social drama called ‘Company 1004’ (에스코트 주식회사) in a series of parts and making each available on YouTube and Vimeo.
I feel it’s incredibly important to support and promote new Korean film-makers striving to produce original content in spite of having no industry backing, funding or budget and, as such, I’ve embedded the very first part of ‘Company 1004’ (with English subtitles) here and attached links to each of the media channels where the ongoing production parts can be found.

I also recently asked Jeehyun Kwon to say a few words about the production, its origin and her hopes for it in the future. Her responses have been transcribed following the embedded video below:
I sincerely hope you’ll watch and enjoy ‘Company 1004’ as each of the parts are completed and made available.

Jeehyun Kwon: “Social network drama 'Company 1004' is the collaborative work of several people whom I met through Instagram (SNS). We had zero funding to make a film however everyone wanted contribute their talent for free to make this production happen and though most of us had no experience in film making it wasn't an easy job to get things done but we enjoyed each and every step of process very much indeed, as well as learning a lot from our mistakes, in the process.
In addition, since most of us have a day job, it wasn't easy to find time to gather all of us together for filming. So, we had to make extra efforts to make time to shoot every weekend. Furthermore, it was the first time that the actors and actresses who starred in 'Company 1004' (apart from the female character with the white cat) had ever acted.
The cast are, in fact, from very different background. The main actor is a research student in robot engineering; the actress who plays 'Inyoung' works for PR company; the actress whose role is 'Haejung' is a college student studying law; etc. The majority of the cast felt very uncomfortable in front of the camera in the early stages of filming and it took a very long time for them to get used it.
We may not be professionals yet, nevertheless, we wanted to create a content that we can enjoy making and share the experience with others, as well as hopefully communicating with many more people. That’s essentially why we choose to post on YouTube and Vimeo rather than entering it into film competitions. Of course it would be great to have ‘Company 1004’ viewed at the film festivals one day. I certainly don't mean to neglect it. What I'm trying to say is that we thought SNS was, and is, a good media to share such contents.
The story is based on the novel 'Escort company' which was also written online first published at a later stage; a few years ago. The writer of the book (whom I only knew on instagram) asked me if I couldn make a film with it last year and I thought... why not. XD Then, we posted on instagram asking if anyone might be interested in joining for a collaboration and we subsequently found the crew there!
The story is about the ordinary life of Dongwoo; who seems to be nothing special. However, never loses his positive character and influences others around him with his happy virus.
I feel that fact is perhaps not revealed in the first ‘episode’ but hopefully it will become clear to audiences as the production progresses.”

Director Kim Ji-woon's new rom-com short film 'One Perfect Day' (사랑의 가위바위보) is now available to stream free on YouTube; complete with English Subtitles. You can find it at: http://www.youtube.com/watch?v=pQZEliPEnLs&feature=youtu.be

I've also embedded the film below, on this very page, should you want to watch it here:

Three Korean films will be screened as part of this year's Terracotta Far East Film Festival (6th-15th June 2013): 'A Werewolf Boy'; 'The Berlin File' and 'Young Gun in the Time'.

The Korean Cultural Centre UK will be holding a special screening project from May 9th-Aug 22nd; entitled 'Women on Screen: Understanding Korean Society and Women through Films'. The project will consist of a number of free screenings of films dating as far back as 1936.

"Women on Screen: Understanding Korean Society and Women through Films" will allow you to look at the past and present pictures of Korean society. The films that were made from the modern times to the present will allow to peak on the diversity of Korean society. 8 Korean films in this project show a new perspective to Korean within the framework of "Women".

8 films are included in this screening project at the Korean Cultural Centre, including Sweet Dream, 1967, by Lee Man-hee; Yeong-ja's Heydays, 1975, by Kim Ho-sun; Sunddenly in the Dark of Night, 1981, by Go Yeong-nam; Gilsotteum, 1985, by Im Kwon-taek; and Happy End, 1999, by Jung Ji-woo.

Most of the above titles are masterpieces of film directors who represent the history of Korean films.

'Korean Society and Women' was chosen as the theme of this project not only because of the importance of gender issues, but also because the lives of women well illustrate the comprehensive changes in Korea contemporary history, through colonisation, the division of the peninsula, the Korean War, political upheavals, and rapid modernisation.

Screenings are free but booking in advance is required.
Places for each of the screenings can be booked by emailing: info@kccuk.org.uk

Continuing its Jeon Do-yeon film season in the lead-up to the actress' appearance and Q&A in London in the next couple of months (date TBA), the Korean Cultural Centre UK will be holding a screening of 'My Dear Enemy' (멋진 하루 - 2008 - Directed by Lee Yoon-ki) on Thursday May 16th at the KCCUK in London.
Entry is free but booking in advance is required.
Places for the screening can be booked at:
http://london.korean-culture.org/navigator.do?menuCode=201104050063&action=VIEW&seq=729

'Thought Leaders' Corner' MKC Feature - April 2013:

The 'Modern Korean Cinema' site is currently running a monthly 'Thought Leaders' Corner' feature in which a number of film critics and academics comment on a Korean Cinema-related topic.
I am proud to be one of those asked for their thoughts and you can read the various responses to this month's question (discussing remakes of Korean films) at: http://www.modernkoreancinema.com/2013/05/mkc-thought-leaders-corner-april-2013.html

'Unfolded' Magazine Issue #13:

'Unfolded' magazine Issue #13 is now available to read online.
The issue includes a Korean Cinema article written by Hangul Celluloid; on pages 124-129:
http://unfoldedmag.com/unfolded/issue13

'Thought Leaders' Corner' MKC Feature - March 2013:

The 'Modern Korean Cinema' site is currently running a monthly 'Thought Leaders' Corner' feature in which a number of film critics and academics comment on a Korean Cinema-related topic.
I am proud to be one of those asked for their thoughts and you can read the various responses to this month's question (discussing current trends in Korean Cinema) at:
http://www.modernkoreancinema.com/2013/03/mkc-thought-leaders-corner-march-2013.html

Forthcoming Interview with Moon So-ri:

I'm incredibly excited to officially announce that I'll be one of those taking part in a 'round table' interview with actress Moon So-ri towards the end of the first week of April 2013.
As always, the (group) interview will be transcribed in full and available in the 'Interviews' section of this site within a couple of days of it taking place.

'Unfolded' Magazine - Hangul Celluloid Articles:

All of the Hangul Celluloid articles written for 'Unfolded' magazine since its launch can now be viewed in one place; as well as in the magazine itself.
To access the various articles, essays etc. visit http://www.unfoldedmag.com/writers/paul-quinn or alternatively click the image below:

The next issue of 'Unfolded' magazine will be available at the end of March and it too will feature a Hangul Celluloid article.

KCCUK Screening of 'HaHaHa' and Moon So-ri Q&A:

Seats can now be booked for the Korean Cultural Centre UK screening of 'HaHaHa' (Directed by Hong Sang-soo) and Q&A with actress Moon So-ri, to be held at BAFTA (195 Piccadilly, London W1J 9LN) on April 4th.
The screening and Q&A form the first of four actress/actor visits to London in 2013 as part of the KCCUK's 'Year of the Four Actors' series.

Please Note: *Limited Availability. Entry is free but BOOKING is ESSENTIAL
Seats will be reserved on a first come first served basis.
Booking for this screening via email and phone only
BOOKING: info@kccuk.org.uk / 020 7004 2600

As many of you will no doubt be aware, in the last week to ten days there have been a number of occasions where access to www.hangulcelluloid.com has been unavailable.
I spoke (angrily) to the hosting company's Customer Support regarding this issue and was told that a "major server update" had been taking place. I was also been assured that the problem was a temporary issue.
Since access to the site was finally restored, I've had to re-upload the site in its entirety and I've checked through each and every page/review/interview etc. to make sure all is as it should be.

Hopefully, if you are able to read this, all the problems have been fixed, once and for all.

Please accept my apologies for the recent access difficulties and thanks for your patience during the entire nightmare.

Rest assured I'll be keeping a regular eye on everything to ensure your access is not interrupted in the future and if problems do happen to continue I won't hesitate to take steps to move site hosting to another, more reliable company.

As most of you will already be aware, director Park Chul-soo (Bed - 2013, Green Chair - 2005) died in a car accident on February 19th 2013. The driver of the other vehicle was found to be under the influence of alcohol.

The Times newspaper in the UK has subsequently printed an obituary of director Park (March 9th 2013). A screencap of the article can be found below:

Continuing its Moon So-ri film season in the lead-up to the actress' appearance and Q&A in London (April 4th), the Korean Cultural Centre UK will be holding a screening of Lee Chang-dong's masterpiece 'Oasis' (오아시스 - 2002) on Thursday March 14th.
Entry is free but booking in advance is required.
Places for the screening can be booked at:
http://london.korean-culture.org/navigator.do?menuCode=201104050063&action=VIEW&seq=692

To coincide with the release of 'Stoker', the seminal 'Oldboy' (올드보이 - 2003 - directed by Park Chan-wook) is currently touring cinemas in the US and UK.
Screening details (courtesy of Palisades Tartan) can be found in the image below:

I’m very sad to have to announce that director Park Chul-soo (Bed - 2013, Green Chair - 2005) has died as a result of a car accident. The driver of the other vehicle was found to be under the influence.
Director Park will be sadly missed.
Rest in peace.

Several Korean films (‘Stoker’, ‘Pieta’, ‘Sleepless Night’, ‘King of Pigs’ and ‘Helpless’) will be screening at the Jameson Dublin International Film Festival from February 14th - 24th, 2013. Full details and booking information can by found on the festival’s official site:
http://www.jdiff.com/index.php/guide/schedule

The Korean Cultural Centre UK will be holding a screening of the sublime 'Sa-kwa' (사과 - 2005 - Directed by Kang Yi-kwan and starring Moon So-ri) on Thursday February 28th. Entry is free but booking in advance is required.
Places for the screening can be booked at:
http://www.kccuk.org.uk/navigator.do?menuCode=201104050063&action=VIEW&seq=673

I recently received an email from a writer for the 'Asian Correspondent' website asking for some of my thoughts and opinions regarding Korean Cinema in 2013, considering the enormous success it achieved in 2012.
I happily complied and the article (entitled 'Will 2013 be a Golden Year for Korea's Silver Screen') has now gone online featuring a couple of my statements.
You can read the entire article at http://asiancorrespondent.com/95835/will-2013-be-a-golden-year-for-koreas-silver-screen/

Following on from The Korean Cultural Centre UK's 'Year of the 12 Directors' 2012 series of events, 2013 will be the 'Year of the 4 Actors' and, over the coming months, four well-known Korean actors/actresses will be holding post-screening Q&As in London.
The first of these will be actress Moon So-ri in March, following bi-monthly screenings of six of her most famous films at the KCCUK.

As such, the KCCUK will be holding a free screening of 'The President's Barber' at 7pm on January 17th, 2013.
Entry is free, but booking in advance is required.
Places can be booked by clicking here or, alternatively, click the image below.

The British Film Institute in London will be holding a special preview screening of Park Chan-wook's new gothic psychological thriller, 'Stoker', on February 27th 2013. The screening will take place in NFT1 at 8.45pm.

Courtesy of Terracotta Distribution, I am proud to announce a competition to win a Kim Ki-duk DVD boxset consisting of 'Arirang' (아리랑 - 2011) and 'Crocodile' (악어 - 1996).
Two winners will be chosen at random (by a third party) from the correct entries on close of competition.

To enter, simply answer the following question:

Q: Which actress who has starred in two of Kim Ki-duk's films was interviewed by Hangul Celluloid earlier this year?

Send your answer to hangulcelluloid@gmail.com by the end of Monday December 10th.
The winners will be notified by return email on Tuesday December 11th and asked for their preferred delivery address.

Please note: The competition is open to everyone in any and all countries. Terracotta Distribution will send out the prizes directly on being informed of the winners' addresses.

Courtesy of Dogwoof Films, I am proud to announce a short competition to win a full-size cinema quad poster of the deeply moving and incredibly uplifting 'Planet of Snail' - signed by the film's director, Yi Seung-jun.

To enter, simply answer the following question:

Send your answer 'a', 'b', or 'c' to hangulcelluloid@gmail.com by Tuesday September 11th.
The winner will be notified by return email on Tuesday 11th and officially announced on Wednesday 12th.

Please note: As Dogwoof is based in the UK, the company has stipulated that the competition winner must be a UK resident, so I have to abide by the company's wishes.

You can check out the image below to see the poster artwork. The very best of luck to everyone.

Planet of Snail opened to great reviews when we released it at the ICA earlier this year, and also launched the membership service on Dogwoof.TV, with monthly subscribers able to watch the film from the day of it's cinema release. This stunning documentary film is now available on iTunes , and pay per view on Dogwoof.TV as well. Find out the realities of being deaf and blind in this stunning film.

Young-Chan has been deaf and blind since childhood. As he puts it himself, “In the beginning there was darkness and silence, and the darkness and silence were with god. And when ‘I’ arrived, they came to me.” Young-Chan has no idea how to participate in the world until he meets Soon-Ho, who also has a physical handicap. He marries her and learns to communicate with the outside world through her. By softly tapping each other’s finger, they can understand one another; it is sometimes as if they are tenderly playing a piano. This documentary follows the couple in the same gentle tempo as Young-Chan moves through his life. We see them replacing a lightbulb together, receiving friends, working on a theater piece, reading a book, and gliding on a sleigh down a mountain. These everyday scenes are accompanied by a poetic voice-over by Young-Chan, in which he reflects on his existence without sight and hearing. He feels like an astronaut, but that doesn’t mean he is without a sense of beauty in the world. This becomes palpable when Young-Chan touches the bark of a tree, runs his hand through sand, or brushes raindrops on a window pane with his fingertips.

Find out more about the film and read some of the glowing reviews on the film's website

The 3rd Korean Film Festival in Australia (KOFFIA) kicks off in Sydney on August 22nd, Melbourne on September 8th and Brisbane on September 27th. Full screening details and links to the official KOFFIA2012 website can be found below:

Visit the official site at http://koffia.com.au/ for further details and booking information.

Apllications for complementary Press Badges/Passes to the Busan International Film Festival 2012 (BIFF) can now be made, both by Korean residents and International press.

The Korean Film Archive (KOFA) has begun to upload a number of classic Korean films, dating from as far back as 1940s, to its YouTube channel.

The channel officially went live on the 10th May.
This is a long-awaited opportunity to see some incredibly important films that until now have been virtually impossible to find.
All the films are accompanied by English subtitles.
A wonderful resource... Enjoy...

The YouTube channel can be found at:
http://www.youtube.com/user/KoreanFilm

To celebrate the forthcoming UK release of 'Arirang' (Directed by Kim Ki-duk) by Terracotta Distribution, the ICA in London will be screening 'Arirang' (obviously), '3-Iron' and 'Spring, Summer, Autumn, Winter and Spring' during June.
Full details are as follows:

'Arirang': 8th - 14th June http://www.ica.org.uk/?lid=33185

'3 Iron': 15th - 17th June http://www.ica.org.uk/?lid=33192

'Spring, Summer...' 22nd - 26th June http://www.ica.org.uk/?lid=33197

A dear friend in Korea has asked me to let you all know about the 'Fantastic Film School' (with which she is involved) that will form part of the 2012 Puchon International Fantastic Film Festival.
The event is now open for submissions/applicants (deadline is May 27th):

"Fantastic Film School (FFS), a professional training program for genre film professionals at Network of Asian Fantastic Films (NAFF) and presented by Puchon International Fantastic Film Festival (PiFan), now seeks emerging filmmakers for FFS 2012 taking submissions beginning April 16th, 2012.

For its 1st edition, expert action choreographers from Korea, Japan, Thailand and Hong Kong offered know-how’s from their own respective backgrounds, while the 2nd year presented an in-depth, ‘sci-fi story workshop’ by one of the best American sci-fi fiction writer Ted Chiang. In 2010, ‘Swiss Design in Hollywood,’ an exhibition and master class program organized by renowned film historian Patrick J. Gyger and featuring in-depth class on Hero Painting Process used in movies and game production by an acclaimed art director and conceptual artist Christian L. Scheurer thrilled the participants with their wizardry and style. Moreover, ‘Asian Producers' Lab’ in 2011 focused on new media, transmedia, micro-budget filmmaking and alternative distribution in attempts to keep up with the rapid changes in current filmmaking trend, expanded its border to promising young film professionals from all over Asia.
This year’s FFS will be led by contents experts in animation, film and new media, providing current industry issues on OSMU(One Source Multi Use)."

Each month, the Korean Cultural Centre UK's 2012 'Korean Film Night' hosts a number of screenings by a specific director culminating in a special film screening at the Apollo cinema, Picadilly, followed by a Q&A with the film's director himself.
In May, the chosen director Jeon Kye-soo.

Throughout 2012, the Korean Film Night will dedicate each month to a Korean director, screening 4 of their films (Director Im Kwon-taek’s retrospective will include 15 of his films), adding up to a total of 59 films. The final week of each month will culminate in a special screening of one of the directors’ films in a cinema in London’s city centre, providing an opportunity to maximise audience involvement and participation.

May Screenings:

May: Jeon Kye-soo

10th: Midnight Ballad for Ghost Theatre - Venue: Korean Cultural Centre UK (Entry is free but booking in advance is required)
(You can read the Hangul Celluloid review of 'Midnight Ballad for Ghost Theatre' at: http://www.hangulcelluloid.com/ghosttheatre.html)

24th: You and Me (short film) + Lost and Found - Venue: Korean Cultural Centre UK (Entry is free but booking in advance is required)

31st: Love Fiction (special screening and director Q&A) - Venue: Apollo cinema, Picadilly, London (Tickets £10/£8concessions)

KCC booking: www.kccuk.org.uk / 020 7004 2600
Apollo Booking: www.apollocinemas.com / 0871 220 6000

The Director

Director Jeon Kye-soo, a philosophy graduate with a passion for musicals, made his directorial debut with the musical ‘Midnight Ballad for Ghost Theatre’ in 2006, a film which saw him win the ‘Baeksang Award for Best New Director’. Since then, his films have explored a myriad of genres from drama to romance and even comedy. Director Jeon is quite unique within Korean cinema as he doesn’t come from a film background, however his natural talent combined with a keen eye for drama have helped him to create some wonderful movies, each defined by a unique and individual style.
His first screening as part of the ‘Year of the 12 Directors’ programme will be the aforementioned ‘Midnight Ballad for Ghost Theatre' which has been described as a tongue-in-cheek, comedy musical horror. Jeon’s strong connections to the theatre and its traditions are evident throughout, namely with the use of fixed camera angles and a reduced cast.
All of which combine to create a viewing experience that is truly a treat for the senses.

'Remember O Goddess' now has a new official website.
As many of you will be aware, the film secured the required $30,000 funding through the Kickstarter project and will therefore be made into a feature-length film.

Any of you who missed the deadline for pledging on Kickstarter can still back the film at the new site and you can watch the 25min short version of 'Remember O Goddess' there as well.

My warmest congratulations to director Yoon-jung Lee for succeeding in getting the required backing for her film and my sincere thanks (this film means a great deal to me) to every single person who has backed 'Remember O Goddess', or will do so in the near future.

At the time of writing this update, 'Remember O Goddess' has received backing pledges to the value of $26,016 (86.7% of the required $30,000) from 204 backers in total, with 6 days still available to pledge.
This really is an incredible opportunity for Korean film fans to be part of the driving force behind the feature-length version of this wonderful film being made. If any of you are still unsure about whether or not to back the project, you can pledge any amount you wish, from as little as $1 (and from any country), so you really have nothing to lose.

Links to the 'Remember O Goddess' Kickstarter fundraising project can be found below, along with more details about the film and a link to watch the 25min version online, and if any of you want to read my thoughts on 'Remember O Goddess', the Hangul Celluloid review can be found at:
http://www.hangulcelluloid.com/rememberogoddess.html

NB: This is an "all or nothing" project (if the $30,000 goal isn't achieved by the May 10th deadline, all pledges will be cancelled and no funding will be given), so every single dollar pledged is vitally important.

Hangul Celluloid has been contacted by film director Yoon Jung Lee and asked to help promote her efforts to get funding/backing to complete her feature film 'Remember O Goddess' via the Kickstarter project - a funding platform for creative projects.
Pledges can be made, and further details found at:
http://www.kickstarter.com/projects/21269065/remember-o-goddess-film-noir-adventure-and-love

'Remember O Goddess' Synopsis:
In the middle of the night, a man reports the disappearance of himself to the police office. He has lost his memory. He can only remember from the moment he found himself left alone in an apartment. He tries to find any clue as to who he might be, but nothing comes out. When he plucks up the courage to go out, he meets a girl at a convenience store, who he thinks might know him. Instantly she becomes his only hope and joy, but when he returns, she has disappeared. Then his quest to find someone who remembers him becomes greater than his need for his own memories. Will he be able to reconnect with a lost love?

The first 25 minutes of the film have already been completed as a short film and screened in both Korea and the US. You can watch it for free on the official website at: http://rememberogoddess.squarespace.com/movie

I'm also really pleased to say that I recently interviewed Yoon Jung Lee, both about 'Remember O Goddess' and her previous work as script supervisor for 'The Good, The Bad, The Weird' (directed by Kim Ji-woon) and 'My Sweet Yet Brutal Sweetheart' (directed by Son Jae-gon). The interview can be found at: http://www.hangulcelluloid.com/yoonjungleeinterview.html

Finally, a few words about the project from Yoon Jung Lee herself:

"We are raising $30,000 for shooting and post-production of our feature film project, REMEMBER O GODDESS, filming later this summer. We have finished the first 25 minutes of the film and hope that we will be able to raise the funds for the rest of the film. The short version has been shown in several film festivals in the US and Korea. Luckily we have received great feedback. Now it is available for viewing online, so please check out the link below. If you want to find out how the movie ends, please kick us to restart the project."

Each month, the Korean Cultural Centre UK's 2012 'Korean Film Night' hosts a special film screening at the Apollo cinema, Picadilly, followed by a Q&A with the film's director.
In April, the chosen director is Song Il-gon.

April Screenings:

Apr: Song Il-gon

5th: Flower Island - Venue: Korean Cultural Centre UK (Entry is free but booking in advance is required)
12th: Feathers in the Wind - Venue: Korean Cultural Centre UK (Entry is free but booking in advance is required)
19th: Dance of Time - Venue: Korean Cultural Centre UK (Entry is free but booking in advance is required)
26th: Always (special screening and director Q&A) - Venue: Apollo cinema, Picadilly, London (Tickets £10/£8concessions)

KCC booking: www.kccuk.org.uk / 020 7004 2600
Apollo Booking: www.apollocinemas.com / 0871 220 6000

The Director

Director and Script-writer Song Il-gon is one of those filmmakers that you’ve probably heard of but whose work almost certainly never seen. Born in 1971, Song studied Fine Arts in Seoul before relocating to Poland to train at their National Film Academy in Lodz. After creating award-winning short films Song moved on to full features. In the last decade he created 6 films as well as other smaller projects, all of which makes him one of the most prolific Directors of his generation. He was also the first Korean Director to receive an award from Cannes and has also proved popular at Festivals in Venice, Busan, Tokyo and Melbourne to name but a few.

Song’s style and technical brilliance is often praised on the Festival circuit along with his ability to create films in the European art-house tradition. However his particular style has also made it harder for him to completely crack the important domestic market. For this reason Song has become something of a known unknown in cinematic circles. However Song’s films are always wonderfully and stylishly made, as Russell Edwards wrote, ‘his craft is undeniable’. It is only in recent years that Song’s works have begun to be accepted by mainstream Korea, in a sense it is only now that the public has caught up with Song. His early films left all that was possible open to interpretation, and when combined with Song’s defining use of nocturnal images we have a body of work that is quite divisive. The same however cannot be said of Song himself, time and time again he has shown himself to be the most inclusive of Directors, capable of directing numerous actors and actresses across a range of genres no matter how subtle or challenging.

The 4th annual Terracotta Far East Film Festival is set to run April 12th -15th and will once again be hosted by Prince Charles Cinema in the heart of London’s Chinatown.

With a stunning line-up of films hand-picked from the best of the region, encompassing diverse genres from comedy to drama to horror and everything in between, the festival will continue to hold exclusive Q&As, masterclasses and fabulous parties.

Each year the festival strives to improve on last year and to discover new talent: last year, the programme included a little known indie-comedy from China, Red Light Revolution, which ended winning the festival Audience Award.

This year, there will be a focus on Taiwan, given the strength of output in recent years. Most cineastes will be familiar with the works of Edward Yang, Hou Hsiao-hsien and Ang Lee already and Terracotta Festival are delighted to host the UK Premiere for Seediq Bale by an emerging director Wei Te-sheng (Cape No. 7). Rising star Da Ching, lead actor of the film, will be attending the festival and the Official Party on the Saturday night will be Taiwanese themed.

As with every edition, the programme is balanced with the major film producing territories and main genres and this year, a new concept of ‘themes’ illustrates the diversity: the ‘Discovery’ theme groups together the first film made in Burma under the censors' radar, Return to Burma, with a film about one man’s cycle journey from Yunnan to Lhasa, One Mile Above – all are fascinating destinations less visited by the average tourist.

This year also sees the introduction of two new strands: a TERROR COTTA Horror Night Triple Bill (Friday 13th April) to replace the single late night horror film slot which has proved popular. In association with Fright Fest, Terracotta Festival will show a classic horror (The Grudge) to whet the appetite and two brand new horrors (Zombie 108 and anime Gyo) with a film quiz and costume competition.

The second new strand is the ‘Breakfast Club’ on Sunday morning which will be launched with a double bill of exclusive Korean comedies and delicious Kimbap as a perfect antidote to our Official Party the night before.

Aiming to represent the diversity of Korean cinema, the line-up wouldn’t be complete without the return of arthouse master Kim Ki-duk and the most expensive Korean epic war ever made: My Way which will open the festival.

Fans of Japanese cinema will be able to enjoy an eclectic mixture of genres from controversial director Toshiaki Toyoda (Monsters Club) to quirky comedy drama featuring renowned actor Koji Yakusho (The Woodsman and the Rain) and the legendary animated works of Studio Ghibli.

Prolific actor Denden, well-known in the UK for his performance in Cold Fish, will be attending our closing ceremony of Himizu, new film by maverick director Sion Sono.

What clearly comes out of the line-up this year is the further increase in cross-border collaborations and a perfect example is the black comedy Inseparable that sees Kevin Spacey as the first Hollywood star to appear in an all-China financed production.

Terracotta Festival is above all an event to socialise and a platform for Asian culture at all levels; for this purpose the organisers are taking the festival beyond the cinema with a new FOOD PASS, giving access to a number of restaurants in Chinatown. There will be other related events such as photo exhibitions and competitions announced on social network sites.

Joey Leung, festival director says: “New look, same ethos. We worked with our creative agency, What is Bobo, to roll-out the re-brand of the festival with their ‘pixels’ concept. This lends maturity and longevity to our festival positioning, fitting now that we have passed the infancy of our festival and into our fourth edition.”

A Korean man and a Japanese man meet as enemies, but become each other’s hope. Based on the true event of a Korean discovered among the bodies on D-Day and portrays WWII from an East Asian point of view

Based on a true story, a man fulfils his dead brother’s ambition and embarks on a cycle journey fromYunnan to Lhasa.

The first film shot in Burma under the censors' radar to give the audience a rare insider's perspective into ordinary life in this fascinating and topical country.

Comedy about a communist village transformed into a capitalist theme park in rural China.

A group of Yokohama teens look to save their school's clubhouse from the wrecking ball in preparations for the 1964 Tokyo Olympics. Anime directed by the son of Hayao Miyazaki.

13th April: Terror Cotta Horror Movie Marathon Night in association with Fright Fest

Kim Ki Duk’s long anticipated documentary about his self-imposed exile and solitude.

An inspiring and often comical portrait of two men’s unusual collaboration when a film crew arrives to shoot a zombie movie in a small village in the mountains

A man abandons modern civilization and lives in a secluded cabin on a snowy mountain, sending mail bombs to corporate CEOs.

Action saga produced by John Woo, tells the true story of Taiwan's aboriginal Seediq tribes who were almost wiped out by Japanese colonisers in the 1930s.

A cross between rom-com and caper movie with overlapping stories and multiple deceptions.

Indie black comedy in modern day China about the unlikeliest friendship of two characters played byHollywood star Kevin Spacey and Daniel Wu.

The powerful story of two teenagers’ struggle to live in a dystopian future Japan destroyed by natural disasters

On 29th March 2012, 6:30pm at Apollo Piccadilly, director Park will attend a screening of his 2007 film 'Meet Mr. Daddy', as well as a Q&A with the audience (hosted by Dr. Mark Morris) after the screening.

About the director:
Park Kwang-su was a leading figure in the emergence of the new, politically charged, aesthetically daring Korean cinema of the 1990s. He founded the Seoul Film Group which had links to the student protests that came to define the era before helping to establish the Busan International Film Festival as well as leading the Busan Film Commission. In between all of which Park Kwang-su created a body of cinematic work that made him a role model for the many young Korean film directors who have followed along the path that he forged for them.

About the film:
Meet Mr. Daddy (2007 Drama): Meet Mr. Daddy won the Young Audiences Award at the 2007 Rome Film Festival. Director PARK Kwang-su’s drama revolves around a selfish man – played by PARK Shin-yang – who finds out that he has a young daughter. Because it’s financially beneficial, he decides to keep her. Later he finds out that the girl suffers from a serious disease.

Tickets for the Gala Screening of 'Meet Mr. Daddy' and Q&A: Apollo Cinema, Picadilly, London (£10/£8 Cons.) can be booked at: www.apollocinemas.com

The 2nd Annual East Winds Film Festival at Coventry University March 2nd-4th

Third Window Films (http://www.thirdwindowfilms.com) in association with CUEAFS (http://www.cueafs.com) and Coventry University will be hosting their annual East Winds Film Festival on the weekend of March 2nd-4th, 2012.

East Winds Film Festival was created with the purpose of bringing East Asian cinema to a University campus under the premise that the film festival is predominantly run by and for students, therefore making it one of its kind in the UK. The festival, despite only being in its 2nd year has drawn large international attention due to the way it operates, and this year sees Nissan sponsor the event as well as welcoming many world renowned film-makers and actors in attendance.

This year's lineup of films includes a retrospective of Japanese film-maker Satoshi Miki who will attend along with his regular actress Fuse Eri.

There will also be a double-bill of feature films from legendary Hong Kong director Herman Yau, who will also be in attendance.

Other screenings include the European Premier of Taiwan/China co-production 'Starry Starry Night' with a Q&A from director Tom Lin as well as screenings of Yuya Ishii's follow-up to 'Sawako Decides' with 'Mitsuko Delivers'; the South Korean blockbuster smash 'The Yellow Sea' and the European Premier of the acclaimed short-film 'BloodTraffick' starring rising star Grace Huang.

2012: Year of the 12 Directors at the KCCUK

KOREAN FILM NIGHT

At the Korean Cultural Centre UK

The KCCUK Film night is being extended to four screenings per month in 2012, with special monthly Q&A screenings featuring some of Korea's leading directors.

The KCCUK kicks this special year off by focusing on director Lee Myung-se, with four screenings of his work culminating in a Q&A with the director himself.
Details are as follows:

January

Director: Lee Myung-se

Venue:
The Korean Cultural Centre UK Ground Floor, Grand Buildings 1-3 Strand, London WC2N 5BW

RSVP:
Booking is required, please visit the Film Night page of the KCCUK website and click the booking button of the film you wish to RSVP for. Admission is free.

The Films

January 5th

Nowhere To Hide

A known drug boss is murdered in broad daylight but there are no witnesses and no leads. Detective Woo from the homicide squad is assigned to the case and along with his men they set about finding the killer. Woo is unrelenting in his quest and eventually discovers that the murderer is the infamous drug lord Chang Sunmin.

January 12th

M

A young writer can't write a word for his next novel, he also doesn't feel right with his fiancée; because he falls in love with a woman, but he can't remember who she is and can't figure out if she's real or just a dream.

January 19th

Gagman

A third rate comedian aspires to become a film director and a barber who aspires to become an actor team up to make their first movie.

January 26th

Duelist + Q&A w/ Lee Myung-se

In the late Chosun dynasty, counterfeits were circulating around. Detective Ahn of Left Security Station and a passionate newcomer, Nam-sun try to trace the source of the counterfeiting. They chase the Secretary of National Security and his man ‘Sad Eye’ as suspects. A predestined battle between the best woman detective in Chosun, Nam-sun, and a mysterious assassin ‘Sad Eye’ is unfolded. A magnificent, chivalric film that showcases Lee’s style.

The Director

Lee Myung-se has become one of the most critically and commercial successful filmmakers to come out of Korean with Nowhere to Hide being one of the the first in the new Korean film wave back in 1999. Born in 1957 he graduated from Seoul Institute of the Arts soon releasing his debut film in 1988, Gagman, which brought a fresh breeze to the Korean film industry. LEE Myung-Se is acclaimed as a stylist representative of Korea who has established a unique world of his own. Lee began his career as an assistant producer under Bae Chang-ho for the films Hwang Jin-I (1986), Our Sweet Days of Youth (1988), and Dream(1990). At the 1991 Asia-Pacific Film Festival, he was awarded Best New Director for the film, My Love My Bride, and in 1993 won the Special Jury Award for First Love.

Other film credits include Nowhere to Hide (1999) and Duelist (2005). Many of his films feature a tragically flawed protagonist. Lee also favors slow-motion fighting sequences. The thing he considers most important in making a film is finding “cinematic expression.” To him, ‘cinematic’ means something ‘only of movies’ that cannot be replaced by any other form of media.

Please be advised that visitors cannot be admitted after 7.10pm.

For more information and to book seats for screenings, visit: