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itemscope itemprop="mainEntityOfPage" itemtype="https://schema.org/WebPage" itemid="http://www.sensesofcinema.com/2024/festival-reports/29th-busan-international-film-festival-ocean-of-cinema/"> <span class="cb-hide" itemscope itemprop="publisher" itemtype="https://schema.org/Organization"> <meta itemprop="name" content="Senses of Cinema"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> <span class="cb-hide" itemscope itemprop="logo" itemtype="https://schema.org/ImageObject"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> </span> </span> <span class="cb-hide" itemprop="author" itemscope itemtype="https://schema.org/Person"><meta itemprop="name" content="Maja Korbecka"></span> <meta itemprop="headline" content="29th Busan International Film Festival: Ocean of Cinema"> <span class="cb-hide" itemscope itemtype="http://schema.org/ImageObject" itemprop="image" > <meta itemprop="url" content="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-lead.jpg"> <meta itemprop="width" content="1000"> <meta itemprop="height" content="533"> </span> <div id="main" class="cb-main clearfix issue-single-meta-container"> <article id="post-49207" class="clearfix post-49207 post type-post status-publish format-standard has-post-thumbnail category-festival-reports"> <header id="cb-standard-featured"><div class="cb-mask"><img width="750" height="400" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-lead-750x400.jpg" class="cb-fi-standard wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-lead-750x400.jpg 750w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-lead-300x160.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-lead-768x409.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-lead.jpg 1000w" sizes="(max-width: 750px) 100vw, 750px" /><div class="cb-image-credit"><i class="fa fa-camera"></i><i>Busan International Film Festival</i></div></div><div id="cb-fis-wrap" class="cb-entry-header hentry cb-fis cb-style-standard"><span class="cb-title-fi"><h1 class="entry-title cb-entry-title cb-single-title" itemprop="headline">29th Busan International Film Festival: Ocean of Cinema</h1><div class="cb-byline cb-font-header"><div class="cb-author cb-byline-element vcard author"><i class="fa fa-user"></i> <a href="http://www.sensesofcinema.com/author/maja-korbecka/" title="Posts by Maja Korbecka" class="author url fn" rel="author">Maja Korbecka</a></div> <div class="cb-date cb-byline-element"><i class="fa fa-clock-o"></i> <time class="updated" datetime="2024-11-11">November 2024</time></div> <div class="cb-category cb-byline-element"><i class="fa fa-folder-o"></i> <a href="http://www.sensesofcinema.com/category/festival-reports/" title="View all posts in Festival Reports">Festival Reports</a></div></div></div></header> <div class="cb-category cb-byline-element issue-single-meta"><i class="fa fa-folder-o"></i><a href="/issues/issue-111">Issue 111</a></div> <section class="cb-entry-content entry-content clearfix" itemprop="articleBody"> <p><span style="font-weight: 400;">For several years now the Busan International Film Festival (BIFF) has been on the top of my list of film festivals to go to. Over the last 29 editions, gathering new films and new filmmakers from across Asia, it rose to the status of the most important film event in the region. While BIFF is by default the main platform for promotion of the latest Korean arthouse and mainstream films, this year BIFF screened 278 films with over half being world premieres of Asian productions. Between 2nd and 11th October, I finally had an opportunity to go to Busan and see if my expectations matched reality. </span></p> <p><span style="font-weight: 400;">Originally, I was planning to move from BIFF to the Pingyao International Film Festival, but this year a commotion on the film festival circuit in the region caught me by surprise. In a last-minute announcement, Jia Zhangke moved the dates of the Pingyao International Film Festival to the last week of September, placing it one week before, instead of just after, Busan. Jia justified the shift with the need for warmer weather to be able to make use of the outdoor cinema more often as the festival expands as there is not enough space to meet audience demand. The cold mid-October evenings in Central China discourages even the most ardent cinephiles who, in September, are safe to watch films outdoors without the risk of frostbite. Moving Pingyao to mid-September resulted in many festival guests such as the Cannes’s selector Christian Jeune or filmmaker Miguel Gomes travelling first to Pingyao from where they continue their festival tour to Busan in early October and Tokyo later in the month. This meant that Gomes’ Cannes competition film </span><i><span style="font-weight: 400;">Grand Tour</span></i><span style="font-weight: 400;"> had its Asian premiere in China, leaving only the status of the Korean premiere for BIFF. During the festival, the organisers announced that they are considering moving BIFF to mid-September just after the Korean mid-autumn harvest festival Chuseok. I feel this territorial dispute between Pingyao and Busan might continue for a while in the future if not interrupted by the overall problems regarding the survival and organisation of international film festivals in the region. </span></p> <p><span style="font-weight: 400;">BIFF is affected by the power struggle not only on the festival circuit but also within the festival’s management team. Last year’s edition took place in the aftermath of multiple scandals which resulted in the departure of the managing and artistic directors.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49207-1' id='fnref-49207-1' onclick='return fdfootnote_show(49207)'>1</a></sup></span><span style="font-weight: 400;"> Only the last-minute appointment of an interim festival head – Nam Dong-chul – pushed the 28th edition forward. This year, the conservative government slashed the state subsidies for the film production and exhibition sectors. BIFF was forced to operate under 50% of the budget the organisers had at their disposal just last year which made the box office income vital for the survival of the festival. The ticket sales started earlier than usual. Almost all of the screenings were sold out, which left little space for press and festival guests to see the films in cinema. The booking system was opening each day at 8:30am to allow passholders to book tickets for the following day. However, the system proved very confusing because it did not show how many tickets were left and which screenings were sold out. Specific press screenings were only scheduled for three days and covered three sections from the program: New Currents, Jiseok and Korean Cinema Today – Vision. </span></p> <div id="attachment_49208" style="width: 2271px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Platform.jpeg"><img aria-describedby="caption-attachment-49208" loading="lazy" class="wp-image-49208 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Platform.jpeg" alt="" width="2261" height="1449" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Platform.jpeg 2261w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Platform-300x192.jpeg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Platform-1024x656.jpeg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Platform-768x492.jpeg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Platform-1536x984.jpeg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Platform-2048x1312.jpeg 2048w" sizes="(max-width: 2261px) 100vw, 2261px" /></a><p id="caption-attachment-49208" class="wp-caption-text"><i>Platform</i></p></div> <p><span style="font-weight: 400;">The video library seemed like a possible way out of this deadlock but there were not enough computers available which left industry guests and accredited press stuck waiting in line. I could not help but recall what Jia Zhangke – one of the reasons for BIFF’s headaches this year – wrote about the state of the festival video library in 1999. A new talent on the film festival circuit at the time, Jia was invited to BIFF to serve on a jury. He started to work on </span><i><span style="font-weight: 400;">Zhantai</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Platform</span></i><span style="font-weight: 400;">, 2000) and wanted to connect in Busan with his Japanese producers to show them the bits and pieces of his work-in-progress footage. None of the VCRs in the library were working, which left a bad impression on Jia who criticised organisers for spending the budget on lavish ceremonies and parties instead of providing the video library with working equipment. He wrote: “At the closing ceremony, winners were honoured with spectacular fireworks over the stage. Watching this dramatic moment above me, I thought and estimated the number of VCRs they could buy with the money spent on the fireworks. But these dazzling fireworks could become news headlines, and it is very unlikely that a television crew would do a broadcast from the dim video library. There is no contest between fireworks and VCRs. This made me want to distance myself from this festival.”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49207-2' id='fnref-49207-2' onclick='return fdfootnote_show(49207)'>2</a></sup></span><span style="font-weight: 400;"> Although BIFF has invested in facilities and hardware since 1999 – the video library is now located in the Busan Cinema Center, which was built in 2011 – it has not been particularly accommodating to film festival guests this year.</span></p> <p><span style="font-weight: 400;">Having previously visited Busan in 1999, as an invited member of the jury and when he was working on </span><i><span style="font-weight: 400;">Platform</span></i><span style="font-weight: 400;">, Jia’s latest film, </span><i><span style="font-weight: 400;">Fengliu yidai</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Caught by the Tides</span></i><span style="font-weight: 400;">), premiered this year at the fest. It feels like the end of a cycle because the film features a lot of archival footage taken by Jia while working on </span><i><span style="font-weight: 400;">Platform</span></i><span style="font-weight: 400;">. Following its premiere In Competition in Cannes, </span><i><span style="font-weight: 400;">Caught by the Tides</span></i><span style="font-weight: 400;"> awaits its domestic premiere, something Jia has most probably given up on after submitting the film to Cannes without a screening permit from the Chinese board of censors. </span></p> <div id="attachment_49209" style="width: 1724px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides.jpg"><img aria-describedby="caption-attachment-49209" loading="lazy" class="wp-image-49209 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides.jpg" alt="" width="1714" height="1144" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides.jpg 1714w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides-300x200.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides-1024x683.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides-768x513.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides-1536x1025.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides-360x240.jpg 360w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Caught-by-the-Tides-600x400.jpg 600w" sizes="(max-width: 1714px) 100vw, 1714px" /></a><p id="caption-attachment-49209" class="wp-caption-text"><i>Caught by the Tides</i></p></div> <p><span style="font-weight: 400;">Interested in using new technologies in filmmaking, Jia assembled the footage, which spans the last twenty years, all shot on digital cameras or generated with AI software. Watching the film made me wonder if Jia might have decided to use AI to edit the footage, too. There is a visual key ordering the scenes, repeated colour schemes and movements, edited in a way that resembles labelling and cataloguing rather than storytelling. Maybe AI is a way out of reading films pervasively through the lens of auteur cinema? Maybe it is a positive intervention of an objective mechanical eye? The only character that recentres the narrative and pushes the story forward is the main actress, Zhou Tao, who has collaborated professionally with Jia since </span><i><span style="font-weight: 400;">Platform</span></i><span style="font-weight: 400;">, and the pair have since married. Over the years, Zhou Tao’s acting became a feature of Jia Zhangke’s auteurism. What would Jia do without Zhou on screen? Would that still be a Jia Zhangke film? One of the most touching scenes in </span><i><span style="font-weight: 400;">Caught by the Tides</span></i><span style="font-weight: 400;"> comes at the end of the film when Zhou’s character, working in a supermarket, is observed by a former long-lost lover. While changing clothes in the dressing room, she tries to gather the strength to face him. Zhou’s character remains silent for most of the film except for the final scene where she leaves her former lover behind, joins a jogging crowd and lets out the spontaneous yell of a fighter, a shout that feels as if it has been suppressed for far too long. </span><i><span style="font-weight: 400;">Caught by the Tides</span></i><span style="font-weight: 400;"> feeds on nostalgia and will be loved by those who give in to the feeling, though it seems as though Jia and Zhou are ready to let go of the past and move on.</span></p> <div id="attachment_49210" style="width: 1290px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/The-Height-of-the-Coconut-Trees.jpeg"><img aria-describedby="caption-attachment-49210" loading="lazy" class="wp-image-49210 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/The-Height-of-the-Coconut-Trees.jpeg" alt="" width="1280" height="720" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/The-Height-of-the-Coconut-Trees.jpeg 1280w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/The-Height-of-the-Coconut-Trees-300x169.jpeg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/The-Height-of-the-Coconut-Trees-1024x576.jpeg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/The-Height-of-the-Coconut-Trees-768x432.jpeg 768w" sizes="(max-width: 1280px) 100vw, 1280px" /></a><p id="caption-attachment-49210" class="wp-caption-text"><i>The Height of the Coconut Trees</i></p></div> <p><span style="font-weight: 400;">Other films that I saw at BIFF were dictated by the availability of tickets, so my impression is relatively patchwork and cannot result in any general statement about the program. Du Jie, who over the years worked as a cinematographer on the set of Ning Hao’s films such as </span><i><span style="font-weight: 400;">Fengkuang de shitou</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Crazy Stone</span></i><span style="font-weight: 400;">) series, entered the New Currents competition with his directorial debut </span><i><span style="font-weight: 400;">Yashi no taka-sa</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Height of the Coconut Trees</span></i><span style="font-weight: 400;">). Du moved to Japan four years ago as part of an exodus of Chinese filmmakers and intellectuals abroad during the pandemic. The film is based on a real-life event in which a young Japanese person has been stopped from committing suicide. In </span><i><span style="font-weight: 400;">The Height of the Coconut Trees</span></i><span style="font-weight: 400;">, Du shows Japan through the eyes of a Chinese person. The dialogue is also filtered through the mind of a Chinese speaker still not fluent in Japanese. Even though this could be considered inadequate and awkward, the discord becomes the strength of </span><i><span style="font-weight: 400;">The Height of the Coconut Trees,</span></i><span style="font-weight: 400;"> which delves into dreamscapes where languages intertwine. </span></p> <p><span style="font-weight: 400;">The film took me back to the style of transnational cinema from the early 2000s, before the filmmakers’ workshops and the film funds offered at international film festivals standardised the process of transnational cooperation. </span><i><span style="font-weight: 400;">Mwo geuleon geoji</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">So It Goes</span></i><span style="font-weight: 400;">), a Korean film in the Jiseok competition dedicated to Asian filmmakers who have directed at least three features, was another form of time travel. Contrasting with the 2000s transnational cinema, it took me back to 1990s American indie road movies. The film centres on a young couple driving through South Korea, killing Korean men in revenge for violence against women or an attempted robbery. </span><i><span style="font-weight: 400;">So It Goes</span></i><span style="font-weight: 400;"> does draws attention to a major problem in Korean society. In 2024, South Korea was shaken by a wave of post-break up femicides but the domestic violence and crimes against women have been a long-standing problem, not yet adequately addressed by the Korean policymakers and law enforcement. </span></p> <div id="attachment_49211" style="width: 2043px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/So-it-Goes.jpg"><img aria-describedby="caption-attachment-49211" loading="lazy" class="wp-image-49211 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/So-it-Goes.jpg" alt="" width="2033" height="1091" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/So-it-Goes.jpg 2033w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/So-it-Goes-300x161.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/So-it-Goes-1024x550.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/So-it-Goes-768x412.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/So-it-Goes-1536x824.jpg 1536w" sizes="(max-width: 2033px) 100vw, 2033px" /></a><p id="caption-attachment-49211" class="wp-caption-text"><i>So It Goes</i></p></div> <p><span style="font-weight: 400;">In </span><i><span style="font-weight: 400;">So It Goes</span></i><span style="font-weight: 400;">, the couple execute folk justice in a Gregg Araki style (</span><i><span style="font-weight: 400;">The Doom Generation</span></i><span style="font-weight: 400;">, 1995), the boy and the girl seeming slightly extraterrestrial, disconnected from all social structures. Before starting his career as a filmmaker, Lee Haram worked as a cook for 20 years. </span><i><span style="font-weight: 400;">So It Goes </span></i><span style="font-weight: 400;">is filled with a punk-DIY spirit that is sometimes lacking in contemporary art cinema which prioritises professionalisation. The fear of being mistaken for an amateur is especially strong at the beginning of a career, which can therefore affect the younger generation of filmmakers. In his full-length directorial debut, </span><i><span style="font-weight: 400;">Shui dong you</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">As the River Goes By</span></i><span style="font-weight: 400;">) the 1997-born Charles Hu walks on the safe side of cinema. The film centres on a young adult in his late 20s who works for the railways – a job he inherited after his father left their family when he was still a boy. </span><i><span style="font-weight: 400;">As the River Goes By </span></i><span style="font-weight: 400;">delves into childhood memories and past traumas as much as it reflects a </span><i><span style="font-weight: 400;">tangping</span></i><span style="font-weight: 400;"> attitude among Chinese Gen Zs because the main character refuses to pursue promotion at work, to the disapproval of his overbearing mother.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49207-3' id='fnref-49207-3' onclick='return fdfootnote_show(49207)'>3</a></sup></span><span style="font-weight: 400;"> There is a mystery around the disappearance of the father which is ultimately unresolved. Narratively, the mystery feels like a trick to convince the audiences that they are watching a crime film – an extremely popular genre currently in China – instead of an arthouse coming-of-age story. </span></p> <p><span style="font-weight: 400;">The title </span><i><span style="font-weight: 400;">As the River Goes By</span></i><span style="font-weight: 400;"> feels like an echo of </span><i><span style="font-weight: 400;">Hebian de cuowu</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Only the River Flows</span></i><span style="font-weight: 400;">, Wei Shujun, 2023) – an arthouse film that became a box office hit in China. The visual style and story in </span><i><span style="font-weight: 400;">As the River Goes By </span></i><span style="font-weight: 400;">is very similar to the one presented in </span><i><span style="font-weight: 400;">Jiaoqu de niao</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Suburban Birds</span></i><span style="font-weight: 400;">, Qiu Sheng, 2018). The reason for my impression of a cookie cut formula might be because the two films have the same producer – Patrick Mao Huang, an experienced Taiwanese producer who has developed multiple film projects in East and Southeast Asia since the 2010s, and who presented several new projects at Busan’s Asian Contents and Film Market this year. </span></p> <div id="attachment_49212" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/To-Kill-a-Mongolian-Horse-scaled.jpg"><img aria-describedby="caption-attachment-49212" loading="lazy" class="wp-image-49212 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/To-Kill-a-Mongolian-Horse-scaled.jpg" alt="" width="2560" height="1391" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/To-Kill-a-Mongolian-Horse-scaled.jpg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/To-Kill-a-Mongolian-Horse-300x163.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/To-Kill-a-Mongolian-Horse-1024x557.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/To-Kill-a-Mongolian-Horse-768x417.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/To-Kill-a-Mongolian-Horse-1536x835.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/To-Kill-a-Mongolian-Horse-2048x1113.jpg 2048w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49212" class="wp-caption-text"><i>To Kill a Mongolian Horse</i></p></div> <p><span style="font-weight: 400;">Another Chinese debut, </span><i><span style="font-weight: 400;">Yi pi baima de remeng</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">To Kill a Mongolian Horse</span></i><span style="font-weight: 400;">, Jiang Xiaoxuan), also drew attention thanks to its producer – Malaysian filmmaker Tan Chui Mui – who has supported the careers of young filmmakers in China over the last decade. Jiang Xiaoxuan, in her debut full-length feature which premiered in Venice Days, takes a close-up look at the father-son relationship, saying goodbyes to a certain lifestyle and traditions that have been passed on through generations. In </span><i><span style="font-weight: 400;">To Kill a Mongolian Horse</span></i><span style="font-weight: 400;"> Jiang reveals social injustices and class inequality. The low-key drama features powerful scenes of pride and rebellion such as the moment in which the main character, a Mongolian middle-aged horse rider, enters a banquet hall on a horse and takes a bottle of alcohol from the table at which his ex-wife is forced by her Han Chinese boss to entertain guests. </span></p> <div id="attachment_49213" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-scaled.jpeg"><img aria-describedby="caption-attachment-49213" loading="lazy" class="wp-image-49213 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-scaled.jpeg" alt="" width="2560" height="1920" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-scaled.jpeg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-300x225.jpeg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-1024x768.jpeg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-768x576.jpeg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-1536x1152.jpeg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-2048x1536.jpeg 2048w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Vietnam-Night-80x60.jpeg 80w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49213" class="wp-caption-text">Vietnam Night – Busan International Film Festival</p></div> <p><span style="font-weight: 400;">After watching the film, each time I attended another party at BIFF held by representatives of national film industries in hotels by the Haeundae Beach, I imagined how this scene would play out in real life. The parties provide another insight into the global film industry: the interaction between national cinemas and international film festivals. On the day of the screening of </span><i><span style="font-weight: 400;">Trong lòng </span></i><i><span style="font-weight: 400;">đấ</span></i><i><span style="font-weight: 400;">t</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Viet and Nam</span></i><span style="font-weight: 400;">, Truong Minh Quy) in Busan, the representatives from the Vietnam Film Development Association organised ‘Vietnam Night’. The Cannes-premiered film is already banned in Vietnam because it was deemed by the authorities to present a negative view of the country and its people. Nevertheless, it did not stop the Vietnam Film Development Association, an entity operating under the state management of the Ministry of Home Affairs, from capitalising on the festival buzz around</span><i><span style="font-weight: 400;"> Viet and Nam</span></i><span style="font-weight: 400;">, but obviously without mentioning the film itself during the banquet. BIFF, as with any major international film festival, is made up of events to support national film industries that at times requires exceptions and the bending of rules. </span></p> <div id="attachment_49214" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-scaled.jpeg"><img aria-describedby="caption-attachment-49214" loading="lazy" class="wp-image-49214 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-scaled.jpeg" alt="" width="2560" height="1920" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-scaled.jpeg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-300x225.jpeg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-1024x768.jpeg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-768x576.jpeg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-1536x1152.jpeg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-2048x1536.jpeg 2048w, http://www.sensesofcinema.com/wp-content/uploads/2024/10/Busan-4-80x60.jpeg 80w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49214" class="wp-caption-text">Busan International Film Festival</p></div> <p><span style="font-weight: 400;">It takes me back to the problems of the Korean film industry, the fourth largest film market before the pandemic, now struggling with low cinema attendance which does not seem to be on the way to recovery to its 2019 vitality. However, I will always remember the time I went to the screening of </span><i><span style="font-weight: 400;">Modeun jeom</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Every Single Dot</span></i><span style="font-weight: 400;">), an essay film by debut filmmaker Lee So-jeong, in which she reflects upon the nature of vision and its connection with capitalism and exploitation. In the middle of the projection in a half-filled screening room, I looked across the aisle and saw a middle-aged Korean man watching the film intently. Even though BIFF has its management issues, throughout the years the organisers have achieved something great: they have built an audience and spread an interest in cinema which, in the end, is really what determines if a film festival is successful or not. </span></p> <p><b>Busan International Film Festival<br /> </b><b>2 – 11 October 2024<br /> </b><a href="https://www.biff.kr/eng/"><b>https://www.biff.kr/eng/</b></a></p> <h3>Endnotes</h3> <div class='footnotes' id='footnotes-49207'> <div class='footnotedivider'></div> <ol> <li id='fn-49207-1'> In 2023 Cho Jong-kook, secretary general of the Busan Film Commission and Korean Film Council, was appointed BIFF’s Managing Director to work alongside Huh Moonyung, film critic and program director of the Busan Cinema Centre, who has been running the festival since 2021. Cho’s appointment was seen as the result of his friendship with the BIFF chairman, Lee Yong-kwan, and the decision was boycotted by the Korean film guild. In the meantime, Huh was accused of sexual harassment. Consequently, the three men – Cho, Huh and Lee – resigned and BIFF was left without its management team. For more information see: </span> <p><span style="font-weight: 400;">Jason Bechervaise, “</span><a href="https://online.ucpress.edu/fq/article/77/3/86/200025/The-Busan-International-Film-FestivalFrom-Crisis"><span style="font-weight: 400;">The Busan International Film Festival: From Crisis to Renewal</span></a><span style="font-weight: 400;">”. </span><i><span style="font-weight: 400;">Film Quarterly</span></i><span style="font-weight: 400;">, 1 March 2024; 77 (3): 86–92. <span class='footnotereverse'><a href='#fnref-49207-1'>↩</a></span></li> <li id='fn-49207-2'> </span><span style="font-weight: 400;">Jia, Z. (2015). Fireworks Thundering but VCR Blundering. In: Jia Speaks Out: The Chinese Director’s Texts on Film. Bridge21 Publications, pp. 273-275. <span class='footnotereverse'><a href='#fnref-49207-2'>↩</a></span></li> <li id='fn-49207-3'> </span><span style="font-weight: 400;">Tangping 躺平 (“lying flat”) is a phrase coined around 2020 that describes a personal rejection of societal pressures to overwork and over-achieve. It is viewed as an indifferent attitude towards life goals such as developing a career or starting a family, which have been pursued by previous generations. <span class='footnotereverse'><a href='#fnref-49207-3'>↩</a></span></li> </ol> </div> </section>  <footer class="article-footer"> <div class="cb-social-sharing cb-post-footer-block cb-beside cb-social-box clearfix"><div class="cb-title-subtle">Share On:</div><div id="fb-root"></div> <script>(function(d, s, id) {var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.0"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "facebook-jssdk"));</script><div class="cb-facebook"><div class="fb-like" data-href="http://www.sensesofcinema.com/2024/festival-reports/29th-busan-international-film-festival-ocean-of-cinema/" data-layout="box_count" data-action="like" data-show-faces="false" data-share="false"></div></div><div class="cb-pinterest"><script type="text/javascript" src="//assets.pinterest.com/js/pinit.js" async></script> <a href="//pinterest.com/pin/create/button/?url=http%3A%2F%2Fwww.sensesofcinema.com%2F2024%2Ffestival-reports%2F29th-busan-international-film-festival-ocean-of-cinema%2F&media=http%3A%2F%2Fwww.sensesofcinema.com%2Fwp-content%2Fuploads%2F2024%2F10%2FBusan-lead.jpg&description=29th+Busan+International+Film+Festival%3A+Ocean+of+Cinema" data-pin-do="buttonPin" data-pin-config="above" target="_blank"><img src="//assets.pinterest.com/images/pidgets/pin_it_button.png" /></a></div><div class="cb-google cb-tall"> <div class="g-plusone" data-size="tall"></div> <script type="text/javascript"> (function() { var po = document.createElement("script"); po.type = "text/javascript"; po.async = true; po.src = "https://apis.google.com/js/plusone.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(po, s); })(); </script></div><div class="cb-twitter"><a href="https://twitter.com/share" class="twitter-share-button" data-dnt="true" data-count="vertical">Tweet</a><script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');</script></div><su:badge layout="5"></su:badge> <script type="text/javascript"> (function() { var li = document.createElement("script"); li.type = "text/javascript"; li.async = true; li.src = ("https:" == document.location.protocol ? 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Her research focuses include Sinophone cinemas, film festival studies and Southeast Asian cinemas. She is also interested in film curatorship and different forms of film criticism such as audiovisual essays and podcasts.</p></div></div><div id="cb-related-posts" class="cb-related-posts-block cb-post-end-block clearfix"><h3 class="cb-block-title">Related Posts</h3><ul> <li class="cb-style-overlay cb-grid-entry cb-related-post no-1"> <div class="cb-mask" style="background-color:#c4393e;"><a href="http://www.sensesofcinema.com/2010/festival-reports/indie-traces-the-7th-indielisboa/"><img width="360" height="203" src="http://www.sensesofcinema.com/wp-content/uploads/2010/06/Ruhr.jpg" class="attachment-cb-360-240 size-cb-360-240 wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2010/06/Ruhr.jpg 650w, http://www.sensesofcinema.com/wp-content/uploads/2010/06/Ruhr-300x168.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2010/06/Ruhr-600x337.jpg 600w" sizes="(max-width: 360px) 100vw, 360px" /></a></div> <div class="cb-meta 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