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Television p.1

Director Q&A:

Choi Dong-hoon p.4


Post-BIFF Getaways p.6

Busan Makes

Its Mark

Challenging art-house fare, undiscovered

gems and rousing crowd pleasers take BIFF

into the home stretch





1 1 , 2 0 1 2

From left: director

Arturo Ripstein and

festival director Lee

Yong-kwan attend

BIFF’s traditional Hand

Printing Ceremony at

Haeundae Beach.






From start to finish.


The Hollywood Reporter chronicles the foreign language race from start to finish with

dedicated coverage in print, on’s AWARDS channel and The Race blog, as well

as with dedicated foreign language features in THR’s weekly print editions:





Close & Materials:






Close & Materials:






Close & Materials:



EUROPE Alison Smith / +44 7788 591 781 /

Tommaso Campione / +44 7793 090 683 /

U.S Matt Price / +1 323 525 2249 /

ASIA Ivy Lam / +852 2880 3405 /





Close & Materials:






Close & Materials:


Bonus distriBution to the voters who matter most: AMPAs, BAFtA-LA, BAFtA-uK, HFPA, sAG noM CoM and BFCA

Foreign Language Awards_Busan.indd 1 10/3/12 10:58 AM

O C TO B E R 1 1, 2 0 1 2



A Muse offers an adventrous

Korean take on Lolita



Film Market

By Clarence Tsui


its first flagship entertainment


market in late March, just a

week after the end of Hong

Kong’s Filmart.

Kuala Lumpur Communications

and Creative

Industry Mart (KLCCIM)

will take place from March

26 to 29, 2013, said Datuk

Seri Kamaruddin Siaraf, the

secretary-general of Malaysia’s

information, communications

and culture ministry.

According to a ministry

statement, KLCCIM will

offer 5,000 square meters of

floor space and is expected to

attract more than 200 seller

companies from Asia and 300

buyers from around the world

showcasing their films, TV programs

and animations.

The market will be held

alongside, among others, an

International Film Festival

of Malaysia and a project

financing forum — two events

mirroring what Hong Kong

will be hosting around the

same time.

Filmart, previsouly the only

large-scale industry gathering

in Asia in the spring, takes

place from March 18 to 21

next year. The proximity of

the Hong Kong and Kuala

Lumpur events will repeat,

in a smaller scale, October

schedules, with industry figures

slating appearances

at MIFCOM, Busan’s Asian

Film Market, Tokyo’s TIFF-

COM and finally the American

Film Market. THR

North Korean curio Comrade

Kim Goes Flying is a delight


of BIFF comes to a

close, a handful of

entries from around the globe

managed to stand out amid the

300-plus films at the fest this

year. The festival started strong,

if not Korean, with the opening

presentation, Cold War (Hong

Kong), a slick procedural that

doubles as a subversive exercise

in unorthodoxy. The cops-nrobbers

actioner was a polished


Southeast Asia catches on in Europe and

North America and against all odds becomes

a moderate art house success: films like Bandit

Kong has traditionally excelled

at, and directors Longman

Leung and Sunny Luk would

appear to have bright futures.

Moving into BIFF’s signature

programs — the competitive

New Currents and A Window on

Asian Cinema — freshman and

sophomore filmmakers took center

stage with varying degrees of

success. Bahman Ghobadi’s sister

Nahid’s 111 Girls (Iraq), Kim

Sung-hyun’s Your Time Is Up

(South Korea) and Ian Lorenos’


Gay dramedy Eden suffers

from a lack of subtlety



BIFF 2012: Best of the Fest

The 17th edition of the event offers a diverse international program that

makes room for both the enlightening and the entertaining By Elizabeth Kerr

Breakaway (Philippines) floated

to the top of the pack. Ghobadi’s

oddly comical but deadly serious

testament to the difficulties

Kurdistan faces in its near future

is a stark but beautiful debut, as

is Kim’s screamingly bleak first

feature, an outstanding KAFA

production about desperation.

And Lorenos’ emotional, harrowing

child trafficking drama

is a prime example of theme and

narrative trumping budget, with

slice of the kind of cinema Hong CONTINUED ON PAGE 3

Shahir Kazi Huda plays a

devout Muslim at odds

with a changing world.


The concept of the small screen

rotting your brain takes on new

meaning in this charming

Bangladeshi comedy-drama

By Elizabeth Kerr




frequently, and the films that stand out are

wildly diverse. But, with Television it does indeed.

Mostafa Sarwar Farooki could be the next Southeast

Asian filmmaker to break out. Set in a small

village and basking in the little details of daily

Bengali life — and not even hinging on Muslim/

Hindu tension — the film about progress and the

bonds of family boasts production values high

for the region (post-production help came from

BIFF’s Asian Cinema Fund and Korean behemoth

CJ Powercast), which should guarantee it a

place in several high profile festivals and with any

luck limited, targeted release overseas.

Queen and Ong Bak. It doesn’t happen terribly CONTINUED ON PAGE 5


N. Korean Prod Breaks New Ground

Comrade Kim

co-director Nick

Bonner says the film

was made without any

interference from the

government By Karen Chu


film made in North

Korea with Western

investment in thirty years,

Comrade Kim Goes Flying

does not signal a new sense of

openness for the world’s most

isolated nation, said co-director

Nick Bonner.

“I don’t think anything’s

changed,” said Bonner, who

helmed the film with Anja Daelemans

and Kim Gwang-hun. “It’s

been a long process. And I hope

they’ve learned from the experience.

They’ve made a new type of

film, and it’d be interesting to see

how they react to that.”

A comedy with a strong, independent

female lead — a coal

miner who dreams of becoming

a trapeze artist at the circus —

Comrade Kim was rejected by

North Korean studios for six

years before finally getting the

green light.

After Bonner and co-director

Daelemans hatched the idea

for the project in 2006, the two

Public Sources of Film

Funding a Hot Topic at BIFF

France launches new subsidy while others are cut By Gavin J. Blair


available to filmmakers was the

topic for the Film Fund Talk: How

to fund your films? at the Asian Film Market

on Thursday.

World Cinema Support, a newlylaunched

fund from the French government

with an annual budget of

$7.7 million, will provide assistance for

features, to a maximum $300,220 for production

and $64,000 for post-production,

provided they have a French partner, 50

percent is spent in France and the projects

use an “appropriate language.”

“We’re not going to support films using

Pak Chung Guk plays a

rival circus performer

who comes to respect

the titular character in

Comrade Kim Goes Flying.

worked in North Korea with

local producer Ryom Mi-hwa

and proceeded to spend three

years developing the script.

“Once we got the script right,

the problem was we couldn’t

find a North Korean studio

that was prepared to make it,

because it’s unlike anything

that they’ve ever handled,”

said Bonner. “But it wasn’t a

sort of government top-down

approach. We never were

involved with the government

while making the film.”

The filmmakers worked

with North Korean screenwriters

to capture a genuine sense

of local flavor. “What we


absolutely did not want,” says

Daelemans, “was to have a European

influence in the film so that

it ended up being a strange mix,

or what we call a ‘Euro-pudding.’

We really wanted to make a

Korean film, together with the

North Koreans — a film that is

purely entertainment.”

Comrade Kim’s BIFF screening

comes hot on the heels of its

Asia premiere at the Pyongyang

Film Festival in Sept. “The cast

and crew are proud that the film

will be shown in the South,”

said Bonner. “The audience in

Pyongyang enjoyed the film,

they laughed and cried. I’d like

the audience in Busan to be

English as an opportunistic marketing tool,”

explained the fund’s Julien Ezanno.

Elsewhere, Korea’s Asian Cinema

Fund is available to filmmakers across the

region, including up to $10,000 for script

development, according to representative

Hong Hyo-sook.

Tamir Muhammad from the Tribeca

Institute explained that it distributes

funds totaling $1.4 million a year across a

range of categories.

Representatives from many of the funds,

including the Norwegian co-prod initiative,

confessed they face budget cuts this year due

to the dire state of public finances. THR

immersed in the film as they

were in Pyongyang, supporting

a character that is in the North.”

The premiere in Pyongyang

was also remarkable as it coincided

with the annual Arirang

Mass Games, part of the yearly

Arirang Festival to celebrate

the birthday of the founder of

North Korea. “We expected

that actors and actresses may

be busy and not make the

premiere,” said Bonner. “But

our lead actress Han Jong-sim,”

[a real acrobat who took intense

acting lessons for the role]

“had to leave the premiere halfway

through to perform at

the Mass Games.” THR

Multiple Sales for

A Company Man

By Soomee Park


A Company Man, which opens

on home turf today (Oct 11), was

snapped up by sales agents from four

Asian countries as well as Europe.

Rights to Im Sang-yoon’s film, produced

and repped by Showbox and one of

the Korean company’s main attractions

at the Asian Film Market this year, have

been sold to Pony Canyon (Japan), New

View (China), STG (Thailand) and Ram

Indo (Indonesia).

Splendid Films and Synergy Cinema,

meanwhile, have acquired rights for German-speaking

and French-speaking territories

in Europe respectively. THR

Kim Sung-hong’s

thriller Doctor

has strong



Best of Fest


a moving father-son dynamic

anchoring the entire film.

The more widely accessible

sections that pivot on broad

entertainment, chiefly the

festival’s Gala Presentation

and Open Cinema, housed a

wealth of films that fulfilled

the festival’s mandate of

bridging the three-way gap

between art, entertainment

and global cinema. Mohsen

Makhmalbaf’s documentary

The Gardener (Iran) is an

exemplar of cinema as great

unifier. The film by Iranian

filmmaker Makhmalbaf — shot

in Israel — is as radical and

courageous a statement on the

impact of religion on our world

as is likely to be seen for the

rest of the year as well as an

enlightening introduction to

the Baha’i faith. At the other

end of the spectrum are the

genre entries Doctor from Kim

Sung-hong, Choi Dong-hoon’s

The Thieves (both South Korea)

and Rurouni Kenshin by Otomo

Keishi (Japan). The ultra-violent,

if creative, plastic surgery

horror-thriller, the frothy,

glamorous pan-Asian heist

caper and the lushly shot adaptation

of Watsuki Nobuhiro’s

paean to pacifism, respectively,

stand out as BIFF’s strongest

candidates for success beyond

the festival, with good reason:

each has the kind of high

production values and popular

appeal that also ensure crucial

public support for BIFF.

Perhaps the most novel

entry this year was the Special

Presentation of aspirational

North Korean circus comedydrama

Comrade Kim Goes

Flying by the triumvirate of

Kim Gwang-hun, Brit Nicholas

Bonner and Belgian Anja

Daelemans. Whimsical, tinged

with a rare level of progressiveness

and quite simply teeming

with socio-political curiosities,

Comrade Kim is one of the those

films that needs to be seen to

be believed. Though it lacks

the technical sophistication

of neighboring South Korea’s

independent films, it’s a far cry

from what most viewers likely

expect and is a compelling

reason to set ideology aside

for a telling glimpse into an

enigmatic culture.

A satirical, contemporary

portrait of Bangladesh that

highlights an aspect of Bengali

life other than its crushing

poverty rounded out this year’s

BIFF. The closing presentation,

Mostofa Sarwar Farooki’s

Television (Bangladesh), was an

engaging and optimistic tale of

a village elder rigidly resistant

to change who experiences

something of an epiphany

when his Hajj goes off track,

and struck the perfect final

note of 2012. THR


The 2012 Busan Poster Awards

THR pays tribute to the most amusing

and over-the-top promotional materials

from the third day of Asian Film Market



Sir Billi

“A little beaver goes a long way,”

huh? You know, our mothers

used to say, “If you can’t say

something nice without making

a dirty joke out of it, it’s better

to say nothing at all.” Point

taken, mothers. Point taken.



Er Relajo Der Loro

(The Madness of the Parrot)

This couple just loves their adorable

pet parrot. There’s only one

problem: IT’S MAD! And we’re

not talking about a Bill-O’Reillyduring-a-commercial-break


of mad either. (“We’ll do it live!”)

No, instead we’re talking about

a parrot-on-bath-salts kind of

mad. And everyone knows that

only Hell follows that kind of

madness. How will this couple

ever defeat their insane parrot?

Well, they could start by not

letting it out of its cage. Makes

sense to us, at least.



Best Friends Forever

OMG! This movie about a gurl

and her BFF is, like, the best

thing eva! There both cute,

wear pink, and like boyz! I was

ROTFLMAO at so many of the

scenes, especially the 1s that had

QT boyz in them. RU going 2

C it in the theater, or wait 4 it 2

come out on DVD? LOL! That

was a trick question. Everybody

nose that only ‘rents still buy

DVDs. Still, I’m trying 2 figure

out Y that gurl has a submarine

sandwich in her pocket. Oh,

well. See you at Hot Topic 2nite!


Final Girl

Dear Guys,

This will be the final girl

you’ll ever sleep with. You’ve

been warned.


- A guy who knows better than

to sleep with a half-naked girl

carrying a screwdriver around in

the woods.


Choi Dong-hoon

The in-demand South Korean director

discusses smash hit The Thieves and his big hopes

for the North American market By Soomee Park


The Big Swindle in 2004,

South Korean director

Choi Dong-hoon has remained

steadfastly committed to a

core set of themes: gambling,

duplicity and urban crime.

His latest, the heist caper, The

Thieves, has so far sold 13.02

million tickets at the South

Korean box office, making

it the most-watched Korean

film ever. A story of Chinese

and Korean master criminals

set mostly in Hong Kong and

Macau, the film is readying

for theatrical release in the

U.S. and Canada on Friday.

The 42-year old director spoke

with The Hollywood Reporter

about his challenges writing

for women, the pressures of

directing The Thieves and why a

stint in Hollywood might be on

the horizon.

Do you think The Thieves

will connect with the North

American audience?

It’s hard to tell, but the

response in Toronto [Toronto

International Film Festival]

was very positive. I was sitting

outside the theater during the

screening and people laughed

at the same scenes as Korean

audeinces about 80 percent of

the time. The other 20 percent

was very different, and that was

really interesting to me. On

the whole, I felt that people in

Toronto came to the film with a

very open attitude. I felt really

good at the festival.

What does The Thieves’

domestic box-office record

mean to you personally?

It felt very surreal. At the same

time, I was quite surprised

and pleased. It got me thinking

about why this film had

attracted such a big audience.

People ask me that, and I think

there are a number of reasons.

First, the film owes a lot to

its actors. The film managed

to attract a diverse audience,

because it had a very diverse

set of lead characters. Second


I think it helped that the film’s

story was unpredictable. The

strength of a film lies in its ability

to evolve into something else

— so there’s pleasure in following

the storyline. Many people

watched The Thieves twice.

Did you know you had a

hit on your hands when you

finished shooting?

As a director you watch your

film over and over while editing,

and I had to do that so

much for The Thieves. But I

actually enjoyed re-watching

it. The actors contributed so

much more than what we originally

had in the screenplay. I

guess that sums up a good film

— it’s richer than what was on

the page.

You managed to assemble an

impressive group of A-list actors

and an uncommonly big budget

for a Korean film. Did the pressure

get to you?

Sure. When the actors all got

together, their presence was

so overwhelming. It was like:

“Are we on the red carpet for

the Busan International Film

Festival, or something?” I felt

an immense sense of responsibility.

Because if we failed,

the embarrassment would be

huge. The budget was also

more than I could handle, but

strangely that fear disappeared

as soon as the shooting began.

We shot for five and a half

months, but I really felt like I

was in a state of ecstasy by the

end of it. I just didn’t want to

stop shooting. I remember very

clearly when we were shooting

Vital Stats

Nationality Korean

Born 1971

Film in Busan The Thieves

(Open Cinema)

Selected Filmography

The Big Swindle, 2004;

Tazza: The High Rollers, 2006;

Jeon Woo Chi, 2009

Notable Awards Best New

Director/Best Screenplay, Korean

Film Awards, The Big Swindle,

2004; Best Screenplay, Pusan

Film Critics Awards, Best Screenplay,

Korean Film Awards, Tazza:

The High Rollers, 2007

the last scene of the character

“Used Gum” (played by Kim

Yoon-seok). It was too good to

end it. So I would stop Yunseok

and ask him to go out for

a cigarette break, and repeat

the scene over and over again,

because I just wanted to keep

shooting. I think this energy

shines through in the film,

and has somehow been getting

through to the audience.

Do you think you have any

signature storytelling interests

as a writer-director?

I continue coming back to the

idea of desire and lies.

Has there ever been a film that

you wanted to shoot but couldn’t

because of circumstances?

No, and I hope it stays that

way. You can’t force yourself

to shoot a film. Once you start

a film, you have to live with it

for two and a half years. The

important thing is you have

to be consistent throughout

that whole period. You have

to be passionate and love your

work. And you can’t keep your

passion for two and a half years

if you choose a film that you’re

not sure about. That’s my rule

of thumb when I’m about to

decide on a film I want to shoot

— I ask myself whether it’s

worth two and a half years. If I

can intuitively say yes, then it’s

the right film for me.

In a sense, you seem lucky. You

haven’t had to compromise your

personal tastes much to reach a

wide audience.

Oh, I actually always worry

that I’m the exact opposite.

I don’t think I have popular

tastes. In a way, The Thieves

is not a traditional genre film

either. I’ve asked myself many

times whether the way I tell a

story is just the same as other

directors. I want to shoot a

different film. I don’t study

trends. There is no way of

guessing trends, but as I have

said, I study myself and my

own gut impressions very carefully.

And I shoot a film based

on those observations, but of

course I also fear that I might

be wrong.

Is it easy for you to find

common ground with

investors and producers?

When you’re writing a

screenplay, you get all sorts

of comment from production

staff. And I like to listen. Sometimes

people can’t articulate

themselves so well though.

They express their impressions

in an indirect way, and when

that happens, I don’t get much

sleep. I get very tense, trying

to figure out what they really

mean. If they point out a problem,

I want to figure it out. If

I decide that they’re argument

is strong, I revise my story. If

not, I don’t. I just smile, and

explain how I feel. Generally,

when people suggest ten ideas,

I might take two.

Unlike many action directors, you

pay equal attention to female

characters. Do you do this with

the female audience in mind?

No, I never plan things that

way. When I was writing

The Thieves I just intuitively

thought the film needed

strong female characters. But

it’s really not easy for a male

writer to write for women. So

I always try to study women. I

also want my female characters

to actively choose the way they

live their lives, and in some

ways that’s challenging for me.

Have you thought about working

in Hollywood?

I worked with Hong Kong

actors for the first time on

The Thieves. At first, we were

awkward, but it took just

two days for us to get really

comfortable with each other.

It was such a wonderful experience

shooting in another country.

If I get a chance to shoot

in the U.S., I think that would

be fascinating.

What are you thinking about for

your next project?

Not sure. I’ve written three films

in my head already, and gave

them all up [Laughs]. THR



Television begins with village elder and

chairman Amin (Shahir Kazi Huda) in the

midst of a television interview—from behind a

curtain—with an intrepid reporter who wants

to know why he’s taken it upon himself to

ban any kind of images from the town. Amin

won’t allow televisions on his side of the river,

claiming Islamic dogma forbids it. The townsfolk

aren’t thrilled with this random bylaw,

particularly its Hindu residents who live by

different religious principles, but no one has

done anything about it. His son Solaiman

(Chanchal Chowdhury) isn’t even allowed to

have a cell phone with which to chat with his

girlfriend Kohinoor (Nusrat Imrose Tisha),

and is firmly kept at heel by his luddite father.

When the local Hindu schoolteacher Kumar

(Murkit Zakaria) goes out and buys a TV,

his home quickly turns into something of a

nightclub, with everyone in the village gathering

there to watch the boob tube. When Amin

decides the set has to go, it opens an entirely

new can of worms and the floodgates to a

minor rebellion, led by Solaiman.

Television’s themes of generational conflict

and the friction between tradition and

modernity play out against a refreshingly

“normal” view of Bangladesh that doesn’t

rely on crushing poverty, draconian customs

and a post-tsunami wasteland. Golam Maola

Nabir’s bright, colorful cinematography and

geometric compositions that compartmentalize

the characters efficiently creates an

optimistic and relatable tone that makes the

film’s comic moments (like the acceptable

Halal TV show concocted by one of Amin’s

flunkies) more satiric than if they had been

shot in the drab style more recognizable from



Tradition and

progress collide in

director Farooki’s

affecting tale.

the region’s cinema (Bollywood excepted).

But it’s not all quixotic small-town

shenanigans; Solaiman’s romantic woes and

Amin’s bureaucratic stress comprise the

film’s first, lighter half before Anisul Haque

and Farooki’s script takes a more serious

turn. Solaiman’s rebellion divides the town

to a degree and inspires a crisis of faith in his

father, so much so that the man decides on

a Hajj, a pilgrimage to Mecca for clarity and

direction. His plans blow up in his face and

the final ironic twist is that it is a television set

that helps him complete them.

The television in Television is a well-used

and amusing symbol in the film’s exploration

of the fight over progress and the younger

generations’ more fluid view of technology

and faith and how they fit together. Amin,

charmingly imperious in Kazi Huda’s hands,

is rigid in his beliefs, but never gives the

impression that he’s less than sincere in them,

misguided though they may be. Television

holds some of its shots for a little too long and

could bear to shed 15 minutes, but the vivid

images and gentle placement of its themes

make the few moments it lags forgivable.

Closing Film

Production company Chabial, Mogador Film,

Star Cineplex

Director Mostofa Sarwar Farooki

Cast Shahir Kazi Huda, Chanchal Chowdhury,

Mosharraf Karim, Nusrat Imrose Tisha, Murkit

Zakarta, Imam Lee

Screenwriter Anisul Haque, Mostofa

Sarwar Farooki

Director of Photography Golam Maola Nabir

Production Designer Golam Kibria

Music Ayub Bachchu

Costume designer Mostofa Sarwar Farooki,

Nusrat Imrose Tisha


From left: A private villa at

the Four Seasons Resort Bali

at Sayan; a meditation sala at

Kamalaya Wellness Sanctuary

and Holistic Spa Resort.

3 Post-BIFF Escapes

Before heading home after the fest, stop off at one of

these industry-preferred Asian retreats By Patrick Brzeski


— but it’s also half

the world away from the

major film centers of the West.

So before you leave the hemisphere,

why not stop off at one

of Asia’s world-beating vacation

destinations? From private

atolls, to Thai meditation caves,

here are three of the industry’s

favorite exotic getaways for

rejuvenation in the Far East.

Kamalaya Wellness Sanctuary

and Holistic Spa Resort


This village-like luxury retreat on

the southern coast of Koh Samui

has been an industry favorite for

years. More than just a resort,

Kamalaya encourages guests to

eat naturally and explore eastern

thought through an array of

weight loss, detoxification and

spiritual revitalization programs.


Simple beachside rooms and

private villas accented in teak,

stone and natural materials;

and an abundance of “wellness

facilities,” including a Shakti

fitness center, herbal steam

cavern, plunge pools, elixir bar,

yoga pavilion, sprawling spa,

two pools and a “monk’s cave”

for guided meditation.


The resort’s “Detox & Rejuvenation”

programs have been especially

popular with the industry

set, sources say. The program

combines various natural therapies,

nutritional supplements,

organic cuisine and holistic

fitness classes to reactivate the

body’s natural detoxifying systems.

The days went by and the

weight came off. I hope to return

soon to paradise,” said Oliver

Stone, who has been a guest on

several occasions. “Such a pleasant

and easy stay,” he added.

Villas from $400. 102/9 Na-

Muang, Koh Samui, +66-(0)-77-


Four Seasons Resort

Bali at Sayan


Whether you’re looking to eat,

pray, love, or simply relax, this






luxury hideaway in the enigmatic

Balinese highlands will give

you ample occasion for chilledout

reverie. Julia Roberts and

family spent time here during

production of Elizabeth Gilbert’s

chick-lit smash hit. Ashton

Kusher and Mila Kunis are also

rumored to have paid a visit during

their recent Bali getaway.


Just 18 large suites and 42

private villas, done up with

traditional teak furnishings

and hand-loomed fabrics; three

spa pavilions. Balinese dance

classes, cooking courses, hill

trekking, and a Balinese farming

experience are also on offer.


Show up a little early for sunset

drinks at the lobby bar overlooking

the Ayung River Valley, and

ask the local Balinese band

setting up to give you a quick


Michael Burns and filmmaker-artist

Alan Kozlowski have listed the beach

villa they co-own in Koh Samui. The

price: $6.8 million. The 7,500-squarefoot

home has six beds, six baths, and

a yoga sala, and is made from salvaged

antique buildings from around the

region, including a Balinese temple.

Guests at the estate have included

lesson on the rindik. The players

are happy to teach and there’s no

better way to become one with

the misty surroundings than

pounding out a few notes on this

ancient bamboo instrument.

Rooms from $460. Sayan,

Ubud, Bali, 62-(361)-977577,

Viceroy Maldives


The newest luxury resort to

launch in the fast-sinking

archipelago nation of the

Maldives, Viceroy is just kicking

off its first prime season of

operation this fall. The resort

occupies a single atoll, accessible

only by seaplane.


Five gourmet restaurants; 61 private

villas decorated in a modern

Middle-Eastern style; diving and

watersports school; big game

fishing excursions; seven overwater

spa villas, each specializing

in a different style of treatment.


With a private coral reef surrounding

the premises, this is

one of the best places in the

world to take that dive course

you’ve never had time to commit

to. With zero distractions, time is

on your side here.

Villas from $1,520. Shaviyani

Atoll Maldives, +960-654-5000, THR

Kevin Spacey, William Hurt and

Jackson Browne, who wrote the title

track to his latest album during a visit.

“It’s a special place. We’ve shared some

unforgettable evenings with very special

friends,” said Kozlowski. The house

is also available for rent, with a range

of $1,600-$2,650 per night, depending

on season. For more information visit: THR


the eternally genteel veteran

Italian filmmaking team

Paolo and Vittorio Taviani were

ever fans of HBO’s Oz. But in

that cable drama’s final season

climax, a prison production of

Shakespeare’s Macbeth rippled

with echoes of the power plays

within the maximum-security

facility’s walls. In Caesar Must

Die, the chosen text is Julius

Caesar, and the theatrical experiment

in Rome’s Rebibbia Prison,

unlike in Oz, yields catharsis for

the inmates, not chaos.

Leaving aside the constipated

costume dramas and literary

adaptations that have long been

their fusty domain, the Taviani

Brothers return closer here to

the docudrama hybrid territory

of their 1977 international

breakthrough, Padre Padrone.

This is a looser, grittier film than

their work of late, and while it’s

more successful in the sequences

of bold theatricality than in

the faux- cinéma vérité of the

surrounding scenes, the mix is

nonetheless an interesting one.

By far the best part of the

film is the audition process,

during which inmates are asked

to supply personal data – name,

date and place of birth, preincarceration

residence – the first

time in an emotionally distraught

state and then again in defiant

anger. Subtitles reveal their

convictions (ranging from drug

trafficking to Mafia affiliations)

and the length of their sentences

while they fire up, seemingly at

the flick of a switch, into fiercely

committed histrionics.

I’m by no means the first to

observe that there’s a born performer

in most Italians, whose

florid language and fondness for

gesticulation are rich in inherent

theatricality. That’s especially

true of these hard-nut cases,

whose flair for the dramatic

means they have no trouble

getting in touch with their inner

Anna Magnani. That generates

compelling fireworks when they

are grappling with Shakespeare’s

words — in a simplified

contemporary adaptation — but

it’s a limitation in the staged flyon-the-wall

moments of solitude

or intimate conversation. These

guys can’t turn it off, and their

patent awareness of the camera

means the film doesn’t quite

convey the layers of troubled

humanity that it perhaps could.

But to be fair, the Tavianis

don’t try to pass off that aspect

of the experiment as absolute

verisimilitude. If anything, they

heighten the artificiality by


Caesar focuses on

a production of


in a Roman prison.

Caesar Must Die

Moving away from the literary costume dramas that have been

their principal terrain for many years, the Taviani Brothers explore a

fascinating encounter between theater and reality By David Rooney

shooting the six-month preparation

period for the production

in brooding black and white and

employing Giuliano Taviani and

Carmelo Travia’s score to highdrama


Theater director Fabio Cavalli

encourages the men to perform

in their native dialects — Roman,

Neapolitan, Calabrian, Apulian,

etc. — and with minimal coaxing,

he pushes them to seek out common

ground between the drama

and their own experiences.

Given that the play deals

with the corrupting influence of

power and ambition, those parallels

are not hard to come by. All

the cast seem to respond to its

themes — life and death, rivalry

and hate, collusion and treachery,

loyalty and betrayal, the

nature of crime and the codes

of honor that shape the world of

men. Occasionally, those connections

feel forced in the Tavianis’

scripted elaboration, but there

are enough powerfully raw

moments to keep it gripping.

The title character is played

with amusing swagger and a

roughneck Roman accent by

burly Giovanni Arcuri, who is

quite persuasive as a Caesar with

delusions of immortality, heedless

to the encroaching threat.

The real heavy lifting, however,


is done by Salvatore Striano as

an impassioned Brutus. Striano

was pardoned in 2006 and has

been working as an actor since

his release, returning to Rebibbia

to participate in this production.

But even if his casting is something

of a cheat, his history with

the facility makes it legitimate.

Being an all-male cast, the

roles of Calpurnia and Portia

have been nixed. But Cosimo

Rega is commanding as Cassius,

and Antonio Frasca as Mark

Antony gets to deliver a striking

version of the famed “Friends,

Romans, Countrymen” funeral

oration, rehearsed in an austere

courtyard. Frasca stands alone in

front of Caesar’s corpse, with the

assembled mob hidden behind

the surrounding walls and

glimpsed only through covered

windows, yet no less inflamed

in their rebellion against the


While the excerpts from the

much-applauded public performance

in a traditional auditorium

are dynamic (switching

back to color), it’s in rehearsals

in such incongruous spaces as

prison cells and corridors that

the scenes from Shakespeare

acquire new resonance.

A tendency toward overwritten

dialogue outside the context

of the play detracts mildly from

the overall effectiveness. For

example, returning to confinement

after the performance,

20-year inmate Rega grandly

declaims, “Since I have known

art, this cell has become a

prison.” Footage of the principal

cast being silently shut back into

their cells expresses the same

idea more eloquently. And the

repetition of Brutus’ suicide

scene at the beginning and

end of the film contributes to it

feeling a little stretched, even

at a brief 76 minutes. But flaws

notwithstanding, this is a stimulating

marriage between theater

and harsh reality.

World Cinema

Cast Salvatore Striano, Cosimo

Rega, Giovanni Arcuri

Directors Paolo and

Vittorio Taviani



Newcomer Kim Go-eun stands out in a Lolita role in

Jung Ji-woo’s spicy melodrama By Deborah Young


a 70-year-old National

Poet and a flirtatious

17-year-old high school girl

may not seem like the stuff art

house movies are made of, but

EunGyo is a film full of twists

and surprises that eventually

puts the unlikely romance in

a deeper narrative context.

Rather obviously adapted from

a novel (by Park Beom-shin),

the screenplay traces a Koreanstyle

love triangle, with the

third corner being the poet’s

jealous young disciple. Spiced

with repressed desire, nudity,

one voyeuristic sexual encounter

and a tearfully melodramatic

finale, its appeal for adult

male audiences could reach into

ancillary markets abroad.

Best known for his debut feature

Happy End, writer-director

Jung Ji-woo is adept at combining

the classic screen appeal of

an uninhibited Asian schoolgirl

with the more true-to-life portrait

of an intellectual engulfed

in stacks of books. The delicacy

of their March-December

relationship recalls the unlikely

Japanese couple in Abbas Kiarostami’s

Like Someone in Love,

though here the tale winds up

more conventionally.

The big highlight is unquestionably

newcomer Kim Go-eun

in the role of the seductive nymphet

Eun-gyo. It doesn’t take

much imagination to see why

the venerated writer Lee Jeok-yo

(Park Hae-il) and his selfappointed

young assistant Seo

Ji-woo (Kim Mu-Yeol) become

obsessed with the delicate, paleskinned

teenager they find fast

asleep in Lee’s garden one day.

Wearing a pair of short shorts

and writhing in her sleep, she

smites both men on the spot.

Lee invites her to clean his

house once a week, much to Seo’s

consternation. The youth has

recently published his first book,

described as a genre novel with

psychological insight, and it has

shot to the top of the bestseller

lists. Only later will it be clear

how great his debt is to the poet

laureate. He begs and pleads with

his mentor to kick Eun-gyo out

of the house, especially after he

learns she slept over one night.

The scene of Lee waking up to

find her nestled in his pyjama

bottoms is a bit of a shocker and

has raised eyebrows in Korea.

Eroticism apart, there are

strains of mild comedy in

The film’s

title refers

to a gay club

filled with




Eun-gyo (Kim Go-eun)

instantly captures the

heart of a 70-year-old poet.

watching the “innocent” young

girl occupy Lee’s lonely heart.

He seems perfectly happy to

have the stillness and peace of

his secluded home interrupted

by her cheery presence. The

camera smugly shoots up her

short skirts and loose panties

while she teases the old man.

The fact she calls him Gramps

doesn’t bother him because,

aside from an erotic dream

or two, he sees their relationship

as pure and platonic. Seo,

instead, sees her as a dangerous

tease likely to wreak havoc if

she keeps hanging around.

Up to this point the film

seems like the rerun of an Italian

sex fantasy from the Eighties,

but the story thankfully has

more chapters. Things begin

to get interesting when Lee

sets aside his poetry and starts

writing erotic prose about the

wonderful girl who has come

into his life. A revelation scene

turns the tables on all three

characters and the film ends

in a mix of bedroom farce and

surprising tenderness.

More is sure to be heard from

Kim Go-eun, a drama student

whose Lolita is alternately


A safe if unchallenging Asian LGBT entry

that nonetheless has its quixotic charms

By Elizabeth Kerr


transgenders don’t even make an attempt to look like the sex

they’re opting into, and the two represent the sum total of gay

culture and it seems as though Take Masaharu’s Eden is going to

tread that well-trod path judging by the film’s opening 20 minutes.

But in between the excessive lipgloss, sibilant “S” (or Japanese

equivalent) and sequined gowns is an affecting, if rote, story about

identity and survival. Eden is the kind of queer cinema that plays

well in Asia — nothing is normalized too intensely — and overseas

LGBT-focused festivals should show some interest. However, the

material could be too simplistic for audiences more accustomed to

the subject matter.

irritating and enchanting,

and whose freshness and lack

of self-consciousness stand

her in good stead in the nude

scenes. Her final monologue

is so beautifully understated

it conjures up tears. As the old

poet, 39-year-old Park Hae-il

has gravitas but he’s still an

odd choice to play a man 30

years his senior, and the gray

make-up and toddling gait are

not entirely convincing.

Korean Cinema Today

Production companies

Jung Jiwoo Film, Let’s

Film Production

Cast Park Hae-il, Kim Moo-yul,

Kim Go-eun

Director Jung Ji-woo

Screenwriter Jung Ji-woo,

based on a novel by Park


Producers Jung Ji-woo,

Kim Soon-ho

Director of photography

Kim Tae-kyung

Editors Kim Sang-bum,

Kim Jae-bum

Music Yonrimog

Sales Agent

Lotte Entertainment

No rating, 129 minutes

Miro (Yamamoto Taro, Battle Royale, outstanding) is the choreographer

at Eden, a gay revue that seems to have two customers:

the anxious, taser-wielding Akane and the post-op transgender

Nori-P. Miro’s crew of debatably talented performers includes the

diva Hermes, complete with goatee (seriously?), the pudgy Kikugoro

(good for a few fat jokes), a former banker and a sporty type — all

suitably swishy. After a break-up and bender, Nori-P dies of heart

failure, spurring a short trip to her hometown to lay her to rest —

where Yumiko Fujita appears for five utterly heartbreaking minutes

as Nori-P’s mother. The whole thing ends in an orgy of tolerance and

stupendous glee at Akane’s wedding, and a giddy final sequence,

brilliantly set to the Sheena Easton chestnut “Modern Girl,” that’s a

major shout out to Priscilla Queen of the Desert and Mamma Mia!

A Window on Asian Cinema

Production company Sumomo

Producer Lee Bong-ou

Director Take Masaharu


Comrade Kim

Goes Flying

A novelty factor underpins this drama whose

ideology only adds to its charm By Elizabeth Kerr



buzzing simply because of its curiosity factor: What would

the world’s first 3D porn film look like? The same can be

said, considerably less pornographically, for the North Korean semicomedy-drama

Comrade Kim Goes Flying, a fluffy and strangely

progressive feature film from the enigmatic and secretive state produced

with help from filmmakers from the U.K. and Belgium. If the

festival circuit doesn’t line up to screen this it would be a surprise,

and if DVD licenses could ever be worked out it could turn the film

into a minor cult hit.

Politics aside — and make

no mistake there are politics

in the film — Comrade Kim

works as a curio and a film. In

the time honored positively

Hollywood tradition of underdog

success stories, including

the moment where triumphs

is ripped from the jaws of failure,

Comrade Yong Mi (actual

circus performer Han Jong

Sim) shuns expectation and

fulfils her dream of becoming

a circus acrobat. Growing up

in the idyll of the Jongdong

region she develops a desire

Han Jong Sim

dreams of a

better life.

to fly, Yong Mi becomes Jongdong’s finest miner, before thrillingly

being assigned to the construction brigade in Pyongyang with her

best friend (Kim Song Ran). In the city bursting with color and

bustling with industry, Yong Mi cobbles together a circus troupe

with help from her boss, the ridiculously patient Sok Gun (Ri Yong

Ho) and proves to the arrogant circus star Jang Phil (Pak Chung

Guk, also a circus performer) that she’s got the stones to make it at

his level. But she turns him down and goes back to her hometown.

Comrade Kim is easily one of the most clear-eyed glimpses into

the North Korean psyche ever captured on film. Everyone is a

helpful, supportive, free-thinking egalitarian, and industry is efficient

and over-achieving (mining quotas are exceeded by 120 percent!).

Yong Mi literally skips down the street. Whimsical flashes

of animation and a perky sitcom-style score lends a ’50s-style

idealism to the whole affair, underscored by Han’s energetic

Donna Reed-peppy performance. The North Korean directorial

rep here has a filmography largely made up of military themed

films (Great Bear, Unforgettable Man) and Nicholas Bonner is best

known for documentaries Crossing the Line and The Game of their

Lives. Whose voice is stronger is hard to tell, but that keeps the

film consistent in tone. Comrade Kim Goes Flying would likely be

slammed as derivative and predictable were it from anywhere else

in the world, but is such a contextually arresting work it’s easy to

unapologetically allow its hoarier elements to slide.

Special Screening

Producer Ryom Mi Hwa

Director Kim Gwang Hun, Nicholas Bonner, Anja Daelemans

Cast Han Jong Sim, Pak Chung Guk, Ri Yong Ho, Kim Son Nam



0:00 Magic Words (Breaking

a Spell), Wide Angle

- Documentary Showcase,

2012 / 80min / (Digi)Beta /

Color, B2; Nameless Gangster:

Rules of the Time,

Korean Cinema Today-Panorama,

2012 / 133min / DCP /

Color, M6; Gf*Bf, A Window

on Asian Cinema, 2012 /

105min / DCP / Color, CS; 36,

New Currents, 2012 / 68min /

DCP / Color, L5; If Only Everyone,

World Cinema, 2012 /

98min / DCP / Color, M9; All

Apologies, A Window on

Asian Cinema, 2012 / 88min /

DCP / Color, M4; Filmistaan,

New Currents, 2012 / 117min

/ DCP / Color, CA; Shackled,

A Window on Asian

Cinema, 2012 / 93min / DCP

/ Color, C4; A Motor Home

Adventure, A Window on

Asian Cinema, 2012 / 102min

/ HDCAM / Color, L7; 009 Re:

Cyborg, Special Programs

in Focus-Special Screening,

2012 / 105min / DCP / Color,

BH; Something in the Air,

World Cinema, 2011 / 122min

/ 35mm / Color, C2; The

Sound of Memories, Korean

Cinema Today-Vision, 2012

/ 102min / 35mm / Color,

MM; The Winter of the Year

was Warm, Korean Cinema

Today-Panorama, 2012 /

100min / HDCAM / Color, L9;

The Sapphires, World Cinema,

2012 / 103min / DCP /

Color, B1; Theatre 1&2, Wide

Angle - Documentary Showcase,

2012 / 342min / HDCAM

/ Color, C3; A Special Day,

World Cinema, 2012 / 90min

/ DCP / Color, L4

11:00 111 Girls, New

Currents, 2012 / 79min /

HDCAM / Color, L2; Taboor,

A Window on Asian Cinema,

2012 / 84min / DCP / Color,

L3; Comes a Bright Day,

World Cinema, 2011 / 91min

/ HDCAM / Color, C6; White

Belly, World Cinema, 2012

/ 111min / DCP / Color,

L6; Love in 42.9, Korean

Cinema Today-Vision, 2012

/ 97min / HDCAM / Color,

C7; A Year of the Quiet

Sun, Poland in Close-up:

The Great Polish Masters,

1984 / 105min / 35mm

/ Color, B3; Don’t Cry,

Mommy, Open Cinema,

2012 / 90min / DCP / Color,

MBT1; The End of Time,

Wide Angle - Documentary

Showcase, 2012 / 114min /

HDCAM / Color, C5; Arjun,

Wide Angle - Animation

Showcase, 2012 / 95min /

DCP / Color, SH

12:30 Television, Closing

Film, 2012 / 106min / DCP /

Color, B1

13:00 Violeta Went to

Heaven, World Cinema, 2011

/ 110min / DCP / Color, MM;

3, World Cinema , 2012

/ 115min / 35mm / Color, C4;

Stitches, Midnight Passion,

2012 / 87min / DCP / Color,

CS; Annelie, Flash Forward,

2012 / 117min / DCP / Color,

M9; I.D, A Window on Asian

Cinema, 2012 / 87min / DCP /

Color, L9; Ghost in the Shell,

S.A.C. Solid State Society

3D Special Programs

in Focus-Special Screening,

2011 / 108min / DCP / Color,

BH; Touch of the Light, New

Currents, 2012 / 110min /

DCP / Color, L4; A Better Life

Is Elsewhere, Wide Angle

- Documentary Showcase,

2012 / 90min / DCP / Color,

M7; Apparition, New Currents,

2012 / 87min / DCP /

Color, CA; Mishima, Special

Programs in Focus-Special

Screening, 2011 / 119min

/ DCP / Color, M4; Two

Weddings and a Funeral,

Korean Cinema Today-Panorama,

2012 / 106min / DCP /

Color, M6; Water, World Cinema,

2012 / 140min / HDCAM

/ Color, C2; Like Eagle,

Special Programs in Focus

Afghanistan National Film

Archive: The Rise from the

Ashes, 1965 / 80min / (Digi)

Beta / B&W, B2; Nairobi Half

Life, World Cinema, 2012 /

96min / HDCAM / Color, L7;

Doctor, Gala Presentation,

2012 / 97min / DCP / Color, L5

13:30 Seven Something, A

Window on Asian Cinema,

2012 / 153min / DCP / Color,


14:00 Just the Wind, World

Cinema, 2012 / 87min / DCP

/ Color, L3; Calm at Sea,

World Cinema, 2011 / 90min

/ (Digi)Beta / Color, L2; In

Another Country, Korean

Cinema Today-Panorama,

2012 / 89min / HDCAM /

Color, C6; 10+10, A Window

on Asian Cinema, 2011 /

114min / DCP / Color+B&W,

M1; Modus Anomali, Midnight

Passion, 2012 / 87min

/ 35mm / Color, C7; Ernest

& Celestine, Wide Angle -

Animation Showcase, 2012

/ 80min / DCP / Color, SH;

Reality, World Cinema, 2012

/ 115min / DCP / Color, L6;

Mystery, A Window on Asian

Cinema, 2012 / 110min / DCP

/ Color, M2; Penance, A Window

on Asian Cinema, 2012

/ 300min / HDCAM / Color,

C5; Blind Chance, Poland

in Close-up: The Great Polish

Masters, 1981 / 112min

/ 35mm / Color, B3; Pluto,

Korean Cinema Today-Vision,

2012 / 120min / DCP / Color,

MBT1; Towards the High

Place, Korean Cinema Retrospective

SHIN Young-kyun,

the Masculine Icon of Korean

Cinema: From Farmhand to

King, 1977 / 101min / 35mm

/ Color, MBT2; Asian Short

Film Competition 2, Wide

Angle - Asian Short Film

Competition, M3

16:00 Mía, World Cinema,

2011 / 105min / (Digi)Beta

/ Color, L5; Noor, World

Cinema, 2012 / 77min / DCP

/ Color, M6; The Beginning

and the End, Special Programs

in Focus-Arturo Ripstein:

Four Stories of Captive

Minds, 1993 / 170min / 35mm

/ Color+B&W, B1; Parajanov:

The Last Spring, Special

Programs in Focus The Eternal

Travelers for Freedom:

Sergei Parajanov and Mikhail

Vartanov 1992 / 55min /

(Digi)Beta / Color+B&W, B2;

Kalayaan, A Window on

Asian Cinema, 2012 / 117min

/ DCP / Color, L4; The Scar,

Flash Forward, 2012 / 80min

/ DCP / Color, M7; The Great

Flight, Special Programs

in Focus-Special Screening,

2012 / 91min / DCP /

Color, L9; Beyond School,

Wide Angle - Documentary

Showcase, 2012 / 68min /

HDCAM / Color, L7; Soegija,

A Window on Asian Cinema,

2012 / 110min / DCP / Color,

CA; The Millennial Rapture,

Special Programs in Focus-

Special Screening, 2012 /

118min / DCP / Color, M4;

The Weight, Korean Cinema

Today-Panorama, 2012 /

107min / DCP / Color, M9; My

Way, Korean Cinema Today-

Panorama, 2011 / 137min /

DCP / Color, C4; The Gardener,

Gala Presentation,

2012 / 87min / DCP / Color,

CS; Perfect Number, Korean

Cinema Today-Panorama,

2012 / 119min / DCP / Color,

BH; The Patience Stone,

World Cinema, 2012 / 98min

/ DCP / Color, MM

16:30 Paradise: Love, World

Cinema, 2012 / 120min /

HDCAM / Color, C2

17:00 Shadow People, Midnight

Passion, 2012 / 85min

/ HDCAM / Color, C6; The

Concubine, Korean Cinema

Today-Panorama, 2012 /


122min / DCP / Color, SH;

Architecture 101, Korean

Cinema Today-Panorama,

2012 / 118min / DCP / Color,

COMC; The Fifth Season,

World Cinema, 2012 / 94min

/ DCP / Color, L6; Marie

Kroyer, World Cinema,

2012 / 98min / DCP / Color,

L3; Shadows of Forgotten

Ancestors, Special Programs

in Focus The Eternal Travelers

for Freedom: Sergei

Parajanov and Mikhail Vartanov,

1965 / 92min / (Digi)

Beta / Color, B3; Fly with the

Crane, A Window on Asian

Cinema, 2012 / 99min / DCP /

Color, M1; Berberian Sound

Studio, World Cinema, 2012

/ 92min / 35mm / Color, M2;

Pilgrim Hill, World Cinema,

2011 / 76min / HDCAM /

Color, L2; Pieta, Korean

Cinema Today-Panorama,

2012 / 104min / DCP / Color,

MBT1; Jiseul, Korean Cinema

Today-Vision, 2012 / 108min

/ DCP / B&W, MBT2; Asian

Short Film Competition

3, Wide Angle - Asian Short

Film Competition, M3

19:00 Helpless, Korean

Cinema Today-Panorama,

2012 / 117min / DCP / Color,

M6; Valley of Saints, A Window

on Asian Cinema, 2012

/ 82min / HDCAM / Color,

C3; Rent-A-Cat, A Window

on Asian Cinema, 2012 /

110min / HDCAM / Color, BH;

In the Fog, World Cinema,

2012 / 128min / 35mm /

Color, B2; Captain Kang,

Wide Angle - Documentary

Showcase, 2012 / 78min /

HDCAM / Color, L7; Petrel

Hotel Blue, Special Programs

in Focus-Special Screening,

2011 / 84min / DCP / Color,

M4; Embers, Wide Angle -

Documentary Competition,

2012 / 77min / DCP / Color,

CA; Born to Hate... Destined

to Love.., A Window on Asian

Cinema, 2012 / 131min / DCP /

Color, L9; Memories Look at

Me, A Window on Asian Cinema,

2012 / 87min / HDCAM

/ Color, L5; Good Vibrations,

World Cinema, 2011 / 97min

/ DCP / Color, M9; Your Time

Is Up, New Currents, 2012 /

85min / DCP / Color, C4; El

Condor Pasa, Gala Presentation,

2012 / 101min / DCP /

Color, CS; Cold War, Opening

Film, 2012 / 102min / DCP /

Color, MM; Asian Short Film

Competition 1, Wide Angle

- Asian Short Film Competition,


19:30 The Woman Who

Brushed off Her Tears,

World Cinema, 2011 / 103min

/ 35mm / Color, C2; Horses

of God, World Cinema, 2012

/ 115min / DCP / Color, L4

20:00 Odayaka, A Window

on Asian Cinema, 2012 /

102min / HDCAM / Color, C7;

The Hunt, World Cinema,

2012 / 111min / DCP / Color,

L6; Captive, A Window on

Asian Cinema, 2012 / 120min

/ DCP / Color, M2; Vanishing

Waves, Midnight Passion,

2012 / 120min / DCP / Color,

SH; Serenade, Wide Angle

- Documentary Competition,

2012 / 103min / DCP /

Color, C6; Cold Bloom, A

Window on Asian Cinema,

2012 / 120min / DCP / Color,

M1; Cul-de-sac, Poland in

Carmen Maura plays

the female lead in the

colorful Colombian

comedy, Sofia and

the Stubborn.

Close-up: The Great Polish

Masters, 1966 / 113min

/ 35mm / B&W, B3; My

Father’s Bike, Open Cinema,

2012 / 94min / DCP / Color,

COMC; Post Tenebras Lux,

World Cinema, 2012 / 120min

/ DCP / Color, B1; Dust on

Our Hearts, World Cinema,

2012 / 91min /

DCP / Color, L3; Melo,

Korean Cinema Today-Vision,

2012 / 119min / DCP / Color,

M3; Barfi!, Open Cinema,

2011 / 150min / DCP / Color,

BT; The Russian Novel,

Korean Cinema Today-

Vision,2012 / 140min / DCP

/ Color, MBT2; An End to

Killing, A Window on Asian

Cinema, 2012 / 108min / DCP

/ Color, L2


10:00 Just the Wind,

World Cinema, 2012 / 87min

/ DCP / Color, L5; Magic

Words (Breaking a Spell),

Wide Angle - Documentary

Showcase, 2012 / 80min /

(Digi)Beta / Color, C2; Nick,

World Cinema, 2012 / 84min

/ DCP / Color, M9; Shyamal

Uncle Turns off the Lights,

A Window on Asian Cinema,

2012 / 65min / (Digi)Beta /

Color, C3; Like Someone in

Love, A Window on Asian

Cinema, 2012 / 109min /

DCP / Color, B1; A Royal

Affair, World Cinema, 2011

/ 131min / 35mm / Color, M6;

The Life of Budori Gusuko,

Wide Angle - Animation

Showcase, 2012 / 106min

/ HDCAM / Color, BH; The

Millennial Rapture, Special

Programs in Focus-Special

Screening, 2012 / 118min /

DCP / Color, M4; Embers,

Wide Angle - Documentary

Competition, 2012 / 77min

/ DCP / Color, L7; Together,

New Currents, 2012 / 114min

/ DCP / Color, L4; Material,

World Cinema, 2012 / 93min

/ 35mm / Color, C4; Seven

Something, A Window on

Asian Cinema, 2012 / 153min

/ DCP / Color, MM; Comrade

Kim Goes Flying, Special

Programs in Focus-Special

Screening, 2012 / 81min /

DCP / Color, B2

11:00 Caesar Must Die,

World Cinema, 2012 /

76min / DCP / Color+B&W,

L6; Blancanieves, World

Cinema, 2011 / 104min /

DCP / B&W, SH; Chained,

Midnight Passion, 2012 /

102min / HDCAM / Color,

C5; Purge, World Cinema,

2012 / 125min / DCP / Color,

L3; National Security, Gala

Presentation, 2012 / 110min

/ HDCAM / Color, C6; Forest

Dancing, Wide Angle -

Documentary Competition,

2012 / 105min / HDCAM /

Color, L2

13:00 EunGyo, Korean

Cinema Today-Panorama,

2012 / 129min / DCP / Color

, M9; The Realm of Fortune,

Special Programs in

Focus-Arturo Ripstein: Four

Stories of Captive Minds,

1986 / 130min / 35mm /

B&W, B1; Japan’s Tragedy,

A Window on Asian Cinema,

2012 / 101min / 35mm

/ Color+B&W, M6; The

Color of Pomegranates,

Special Programs in Focus

The Eternal Travelers for

Freedom: Sergei Parajanov

and Mikhail Vartanov, 1968

/ 79min / (Digi)Beta / Color,

B2; Love in 42.9, Korean

Cinema Today-Vision, 2012 /

97min / HDCAM / Color, L5;

Reported Missing, World

Cinema, 2012 / 86min /

35mm / Color, M7; Char...

the No-Man’s Island,

Wide Angle - Documentary

Competition, 2012 / 88min

/ HDCAM / Color, L7; Filmistaan,

New Currents, 2012

/ 117min / DCP / Color, L4;

Paramedico, Wide Angle

- Documentary Showcase,

2012 / 77min / HDCAM /

Color, C2; Petrel Hotel

Blue, Special Programs

in Focus-Special Screening,

2011 / 84min / DCP /

Color, M4; Argo, World

Cinema, 2012 / 120min /

DCP / Color, BH; Behind the

Camera, Korean Cinema

Today-Panorama, 2012 /

85min / DCP / Color, C4; The

Cat that Lived a Million

Times, Wide Angle - Documentary

Competition, 2012 /

91min / HDCAM / Color, C3

13:30 Postcards from the

Zoo, A Window on Asian

Cinema, 2012 / 95min / DCP

/ Color, MM

14:00 Laurence Anyways,

World Cinema, 2012 /

169min / DCP / Color, M3;

Valley of Saints, A Window

on Asian Cinema, 2012 /

82min / HDCAM / Color,

C5; La Playa D.C., World

Cinema, 2012 / 90min / DCP

/ Color, L6; Taboor, A Window

on Asian Cinema, 2012

/ 84min / DCP / Color, M1;

The Last Sentence, World

Cinema, 2011 / 104min / DCP

/ B&W, SH; Crows, Poland in

Close-up: The Great Polish

Masters, 1994 / 63min /

35mm / Color, B3; Anxiety,

Wide Angle - Documentary

Competition, 2012 / 95min

/ HDCAM / Color, L2; Here

and There, World Cinema,

2012 / 110min / DCP / Color,

L3; Thy Womb, A Window

on Asian Cinema, 2012 /

106min / DCP / Color, M2;

Short Film Showcase, Wide

Angle - Short Film Showcase,


16:00 Life Sentence,

Special Programs in Focus-

Arturo Ripstein: Four Stories

of Captive Minds, 1979 /

95min / 35mm / B&W, B1;

Dangerous Liaisons, Gala

Presentation, 2012 / 113min /

HDCAM / Color, L7; Ghost in

the Shell, S.A.C. Solid State

Society 3D Special Programs

in Focus-Special Screening,

2011 / 108min / DCP /

Color, BH; Fuer Elise, Flash

Forward, 2012 / 94min /

DCP / Color, M9; Identification

Marks: None,

Poland in Close-up: The

Great Polish Masters, 1964

/ 71min / (Digi)Beta / B&W,

C2; Soegija, A Window on

Asian Cinema, 2012 / 110min

/ DCP / Color, MM; Beijing

Flickers, A Window on Asian

Cinema, 2012 / 96min /

HDCAM / Color, L5; The Last

Time I Saw Macao, World

Cinema, 2012 / 85min / DCP

/ Color, M7; Mishima, Special

Programs in Focus-Special

Screening, 2011 / 119min

/ DCP / Color, M4; Pieta,

Korean Cinema Today-Panorama,

2012 / 104min / DCP

/ Color, C4; Touch, Korean

Cinema Today-Panorama,


2012 / 99min / DCP / Color,

C3; Love Epic, Special Programs

in Focus Afghanistan

National Film Archive: The

Rise from the Ashes, 1986 /

160min / (Digi)Beta / Color,

B2; B·E·D, Gala Presentation,

2012 / 90min / DCP /

Color, M6

16:30 Apparition, New Currents,

2012 / 87min / DCP /

Color, L4

17:00 Barbara, World Cinema,

2012 / 105min / 35mm

/ Color, M2; Odayaka, A

Window on Asian Cinema,

2012 / 102min / HDCAM /

Color, C6; The Hunt, World

Cinema, 2012 / 111min /

DCP / Color, L3; Peculiar

Vacation and Other Illnesses,

A Window on Asian

Cinema, 2012 / 90min / DCP

/ Color, M1; Nil, A Window

on Asian Cinema, 2012 /

73min / (Digi)Beta / Color,

C5; My Father’s Bike, Open

Cinema, 2012 / 94min / DCP

/ Color, SH; Tai Chi 0, Open

Cinema, 2012 / 95min / DCP

/ Color, L6; Tour of Duty,

Wide Angle - Documentary

Competition, 2012 / 150min

/ HDCAM / Color, L2

19:00 The Dancer, A Window

on Asian Cinema, 2011

/ 112min / 35mm / Color, B1;

Our Homeland, A Window

on Asian Cinema, 2012 /

100min / HDCAM / Color,

C3; The Legend of Suram

Fortress, Special Programs

in Focus The Eternal Travelers

for Freedom: Sergei

Parajanov and Mikhail Vartanov,

1984 / 88min / (Digi)

Beta / Color, B2; Diablo, A

Window on Asian Cinema,

2012 / 113min / DCP / Color,

C4; The Sessions, World

Cinema, 2012 / 95min /

35mm / Color, M6; 009 Re:

Cyborg, Special Programs

in Focus-Special Screening,

2012 / 105min / DCP / Color,

BH; Flower Buds, Flash

Forward, 2011 / 91min /

DCP / Color, M9; Memories

Look at Me, A Window on

Asian Cinema, 2012 / 87min

/ HDCAM / Color, L5; The

Ugly Duckling, Korean

Cinema Today-Panorama,

2012 / 97min / DCP / Color,

L7; Water, World Cinema,

2012 / 140min / HDCAM /

Color, C2; Perfect Number,

Korean Cinema Today-

Panorama, 2012 / 119min /

DCP / Color, M4; All Musicians

Are Bastards, Flash

Forward, 2012 / 87min / DCP

/ Color, M7

19:30 Night of Silence,

World Cinema, 2011 / 92min

/ DCP / Color, L4; Kalayaan,

A Window on Asian

Cinema, 2012 / 117min / DCP

/ Color, MM

20:00 Sofia and the Stubborn,

World Cinema, 2012

/ 74min / DCP / Color, L6;

Beautiful 2012, A Window

on Asian Cinema, 2012 /

90min / HDCAM / Color,

M3; Mystery, A Window on

Asian Cinema, 2012 / 110min

/ DCP / Color, SH; Fly with

the Crane, A Window on

Asian Cinema, 2012 / 99min

/ DCP / Color, M1; Eden, A

Window on Asian Cinema,

2012 / 101min / HDCAM /

Color, C6; If It’s Not Now

Then When?, A Window on

Asian Cinema, 2011 / 82min

/ (Digi)Beta / Color, C5;

Rhino Season, Gala Presentation,

2012 / 93min / DCP

/ Color, L3; Wellang Trei,

Wide Angle - Documentary

Competition, 2012 / 80min

/ HDCAM / Color+B&W, L2;

Hello Goodbye, A Window

on Asian Cinema, 2012 /

122min / DCP / Color, M2;

Werewolf Boy, Open Cinema,

2012 / 126min / DCP /

Color, BT

23:59 Midnight Passion 4

Midnight Passion, BH


10:00 Violeta Went to

Heaven, World Cinema,

2011 / 110min / DCP / Color,

B2; Werewolf Boy, Open

Cinema, 2012 / 126min

/ DCP / Color, BH; Wish

You Were Here, Special

Programs in Focus-Special

Screening, 2011 / 93min /

DCP / Color, B1

11:00 Post Tenebras Lux,

World Cinema, 2012 /

120min / DCP / Color, B3

13:00 In the Fog, World

Cinema, 2012 / 128min /

35mm / Color, B1; State

of Emergency, Flash

Forward, 2011 / 100min /

(Digi)Beta / Color, B2

13:30 Barfi!, Open Cinema,

2011 / 150min / DCP /

Color, BH

14:00 Kinshasa Kids,

World Cinema, 2012 /

85min / HDCAM / Color, B3

20:00 Television, Closing

Film, 2012 / 106min / DCP /

Color, BT THR



After 15 years at the helm, BIFF festival director Kim

Dong-ho had more than earned his farewell party.

Kim steered BIFF (originally PIFF) from scrappy

upstart to a top position among Asia-Pacific’s most

important public festivals and industry markets.

Here, the fest director shared his curtain-closing

dance with Korean actress Kim Ji-mi.












Alison Smith

+44 7788 591 781


Ivy Lam

+852 2880 3405


Each year, CineAsia brings cinema exhibition and distribution

professionals together in Hong Kong for education seminars,

screenings and a trade show.

The Hollywood Reporter’s dedicated preview coverage will highlight the

hot topics at this year’s CineAsia, as well as the events and seminars not

to miss.

With bonus distribution at CineAsia, don’t miss this opportunity to get

your brand messaging in front of the most powerful players in Asian

cinema, from owners and suppliers to film buyers and distributors.



CineAsia (12/11-13)

Gotham Awards

ScreenSingapore/Asia Television Fourm (12/5-7)







FEATURING: Up-to-the-Minute News and Reviews • Festival

Screening Guide • Galleries • Party Coverage • Interactive Map

of BusanDownloadable THR Busan Festival Dailies




THR_Festival_App_Busan.indd 1 10/4/12 9:27 AM

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