Download THR's Busan Day Four Daily - The Hollywood Reporter

Download THR's Busan Day Four Daily - The Hollywood Reporter



Breakaway p.1


Kim Ki-duk p.6

Executive Suite:

Gilbert Lim p.8


Style Gallops

Into Busan

BIFF hits its stride as Korean superstar Psy

takes the stage to the delight of adoring fans

on day three of Asia’s biggest film event





8 , 2 0 1 2

Psy performs his

patented moves

at the Lotte Night

Party: Red Secret at

the Hotel Lotte in

downtown Busan.




Sao Paolo IFF, Warsaw FF

Jury Special Prize at Seoul Int’l Cartoon & Animation Festival

CGV Movie Collage Award at Jeonju IFF





Directed by LEE Dae-hee

The King of Pigs

Directed by YEUN Sang-ho

Director’s Fortnight at Cannes, Busan IFF, Karlovy Vary IFF

Sitges FF, New York Asian FF, Edinburgh IFF

Bloody Fight

in Iron-Rock Valley

Directed by JI Ha-jean

New York Asian FF, Hong Kong Asian FF

Stockholm IFF, PiFan


Directed by KONG Quee-hyun

Taipei FF, Tokyo IFF

Cinema Digital Seoul FF, PiFan



OCT 5 16:30 CGV Centum City 4

OCT 7 20:00 Community Media Center

OCT 8 20:00 Megabox Haeundae 3

OCT 10 16:00 Megabox Haeundae M


Directed by KIM Tae-gon

Turn It Up to Eleven 2 : WILD DAYS

Directed by BAEK Seung-hwa

Jechon Int’l Music & Film Festival

DMZ Docs


Directed by TAE Jun-seek

Sao Paolo IFF

DMZ Docs

For further inquiries, please contact Kate WON (

Indiestory D4 100812.indd 1 10/2/12 10:55 AM

O C TO B E R 8, 2012



Korean chiller Doctor won’t

disappoint genre fans

Psy Brings

Down the


By Soomee Park


of Hotel Lotte Saturday

night, Psy briskly walked

on stage, clad in black disco

pants and trademark sleeveless

shirt. To a crowd of 1,500

guests who came to attend

Lotte Night Party: Red

Secret, he introduced himself

humbly: “I’m Psy, who

is celebrating the highlight

of his career ten years after

its debut.”

Opening his mini-concert,

which lasted a little over half

an hour, with his song “Right

Now,” the South Korean rapper

who ranked No.2 on the

U.S. Billboard Hot 100 for two

consecutive weeks, sang five

songs, but everyone knew how

he would close the show: With

his mega hit “Gangnam Style.”

The infectious tune has

turned the 34-year-old rapper

into both a national hero

and a global sensation. The

song’s YouTube video has

surpassed 400 million, and

its comic, horse-like dance

has become inescapable.

Before gamely launching

into the song, Psy — who

appears to be enjoying

his newfound fame while

simultaneously poking fun at

himself — teased the crowd

prior to his encore.

“I’m going to disappear

and you will pretend you are

super sad,” he said. “Then I’ll

come back and pretend I was

dragged on stage.” And then it

was “Gangnam Style” time, to

the apparent delight of every

person in the room. THR



the Korean film industry

submitted to South

Korea’s National Assembly last

week by the Korea Film Council

contained rare surveys on the

country’s film distribution system

by local film professionals.

In the report — part of the mandatory

documents for an annual

audit hearing held every fall —

86.6% of 492 film professionals


Female revenge drama

Azooma packs a punch


9-year-old boy who goes missing and the

anguish of his single dad who embarks

on a desperate search for him, Breakaway is a

owners are “unfair” in selecting

films between their affiliates and

other producers. The survey also

said that theaters discriminated

against films of other producers

in allocating the number of

screens and screening time. Up

to 67.2% said local theaters are

“unfair” in allocating screens.

Chun Byung-hun, a lawmaker

with the Democratic United

Party, who initiated the survey,


Vincent Sandoval’s

Apparition a bleak exercise



Korean Film Report Stirs Debate

A recent survey suggests corporate multiplex owners give preferential

treatment to films released by their affiliates By Soomee Park

films that are playing in theaters

now, citing that Gwanghae: The

Man Who Became King, which

opened on 689 screens last

month, and sold 6 million tickets

in just 20 days, was backed by

CJ Entertainment, which also

runs the country’s largest theater

chain CGV. Spy, a film from

Lotte Entertainment, which

runs the second largest chain,

Lotte Cinema, had a smooth

said Korean multiplex theater said the report is a telling sign of



It’s all about emotion in this

small but powerful drama about a

father’s search for his missing son

in the perilous backstreets of the

Philippines By Deborah Young




Breakaway tells

an intimate story

of a father and son

but also has larger

implications about

human trafficking.

from young Filipino director Ian Lorenos (The

Leaving) is not only a powerful film about

human trafficking; it is also a small gem portraying

a father-son relationship with nothing fake

or sentimental about it. Certainly not all audiences

will want to share the extremes of pain and

anxiety in this expressive little film, making it

more likely to turn up at festivals after its Busan

bow than in neighborhood theaters.

The stakes are set high from the opening

shots, which flash forward to the heartbreak and

desperation on a young man’s face. The tension

and foreboding of something bad about to happen

low-budget standout. This sophomore effort CONTINUED ON PAGE 10


B•E•D Pushes the Envelope

Despite racy subject

matter, the cast of Park

Chul-soo’s BIFF world

premiere say they were

comfortable baring it all

By Gavin J. Blair


veteran director Park

Chul-soo’s B•E•D said

that the numerous nude scenes

in the erotic drama about a

menage a trois were not as challenging

as everyone expected.

“I’m a married woman, so I

gave it a lot of thought before

taking the role — but my husband

recognized that I’m a professional

actor,” said Lee Min-a on Sunday

at BIFF, where the film bowed.

The first day, I did four or five

hours of scenes in bed, but I

felt very relaxed. We did a lot

of impromptu dialogue and I

forgot I had no clothes on.”

Director Park said that he

“hypnotized” the cast to keep

them calm by always speaking

to them in a “very soft voice.”

The film features just three

characters: B, a married man

who has an affair with another

From left: B•E•D stars Kim Na-mi, Lee Min-a and director Park Chul-soo

attend the film’s BIFF Gala Presentation Press Conference.

man’s wife, E, behind the back of

his own wife, D.

Jang Hyeok-jin, who, like the

other leads, made his name in

theatrical productions, said the

role was “no different to playing

with my clothes on.”


The film is Kim Na-mi’s

second feature, and her debut

Melo is also showing at Busan

this year.

“This is my first year in film, so

I feel like it was kind of soon for

me to be walking the red carpet,

but I really feel like this is ‘my’

festival now,” said Kim. “When

I first read the script I was more

worried about getting rejected for

the part than the nudity.”

Park, who has been directing

since the late 1970s, explained

how his emphasis has shifted in

recent years from storytelling

to focusing on imagery of the

basic needs in life: eating, sleeping

and sex.

“However, unlike Red

Vacance Black Wedding, the

psycho-sexual drama I made

last year, this film examines

three different viewpoints on

sex,” said Park.

B•E•D is based on a short story

by female author Kwon Ji-ye,

and Park sounded somewhat

touchy in his responses to questions

about his “male interpretation”

of the original work.

“I’m a man, so the movie

is different,” said Park, adding

that the author had given

him the freedom to adapt the

story. “I’m not an expert on

female psychology, but I

don’t have a skewed male

view of sexuality.” THR

Five Standouts at the Asian Project Market

By Clarence Tsui Universal and Warner Bros will look for


Asian Project Market kicks off this

year with an elevated pedigree:

Choi Dong-hoon’s The Thieves, which first

emerged at the pitching event in 2010, makes

a triumphant “homecoming” to Busan this

year as the most-watched domestic film in

Korean film history; Edwin’s Postcards from

the Zoo (also from 2010) and Hur Jin-ho’s

Dangerous Liaisons (2011) also return to the

festival after carving official berths at Berlin

and Cannes respectively.

“We have two types of projects at the

APM: one is the more commercial projects,

the other is the independent, low-budget

projects,” said Asian Film Market’s general

manager Nam Dong-chul. “I’d like to have

both sides at the project market.”

Reps from Twentieth Century Fox,

projects at the APM, said Nam.

Here, The Hollywood Reporter highlightsfive

projects to keep an eye on.


Director: Lav Diaz, The Philippines

Status: Pre-production and financing

Total Budget/Budget in place: $370,000/$30,000

Festival-darling Lav Diaz’s gritty exploration

of the history of the Philippines continues

with The Great Desaparecido, a black-andwhite

feature about the 30-day search for

the body of independence fighter Andres

Bonifacio, who died in 1897 at the hands of

rival revolutionaries.


Director: Yang Ya-che, Taiwan

Status: Script revision, funding

Total Budget/Budget in place: $2 million/$800,000

Deft at lacing relationship dramas with sharp

political overtones — shown by 2009 APM

entry Gf*Bf — Yang Ya-che returns to the

fold with The Rouge-sang de Chine. It revolves

around a man’s revisiting of his teenage past

as his bid for a valuable Ming Dynasty relic

takes place just as a political assassination

unfolds in Taiwan — two seemingly unrelated

events brought together by the protagonist’s

memories of the backroom dealings he witnessed

in his younger days.

TOKYO, NY (working title)

Director: Naghmeh Shirkhan, Japan-U.S.-Iran

Status: Pre-production

Total budget/Budget in place: $400,000/$150,000

Produced by Amir Naderi (The Runner),

Tokyo, NY is the second feature from the



Lotte Entertainment D4 100812.indd 1 9/28/12 11:14 AM




U.S.-based Iranian director

Naghmeh Shirkhan,

whose debut The Neighbour

was screened at New York’s

Museum of Modern Art

and the Venice Biennale.

Touching on the issue of exile,

Tokyo, NY revolves around

a young Japanese woman

who finds herself alone and

pregnant in New York’s shady

immigrant underworld.


Director: Wang Xiaoshuai, China

Status: Development

Total Budget/Budget in place:

$1.2 million/$600,000

After touring the festival

circuit with his semi-autobiographical

rhapsody of teenage

angst, 11 Flowers (2011),

Wang Xiaoshuai returns to

his forte of sharp social critique

with I Love You Arirang.

The story revolves around

the fortunes of a North

Korean girl whose dreams of

consummating a clandestine

romance dissipate as the émigré

runs for her life after an

accident at her workplace.

THE MOVIETELLER (working title)

Director: Kim Tae-yong,

South Korea

Status: Development

Total budget/Budget in place:

$6 million/figure not available

Boasting the highest proposedbudget

among the entries this

year, the pitch by Kim (Late

Autumn) resembles The Artist

set in 1930s Seoul: The Movieteller

chronicles the romance

between a silent-film narrator

and an actress nearing her big

breakthrough, just as their

careers reach a crisis point with

the arrival of the talkies.

– Karen Chu contributed

to this report.

THR .com

To download a PDF of the

The Hollywood Reporter’s

Busan Film Festival Daily,

go to:

The 2012 Busan Poster Awards

THR pays tribute to the most amusing

and over-the-top promotional materials

from the first day of the Asian Film Market



Freddy Frogface: How to

Outsmart the Bully

Freddy Frogface is the simple

story of a cross-eyed boy, his

dog, his strong man, his pet

alligator, his tightrope-walking

uncle, his old man friend who

gets shot out of a cannon, his

other hat-wearing dog who

also happens to ride bikes,

and his two pals who run the

traveling circus in town. Oh,

and apparently he also has

to outsmart a bully at some

point. In 3D.



That guy isn’t even holding a

saw so his name makes absolutely

no sense. To be honest, he’s

more of a Macheteney. And then

you’ve got his two cousins, Sickleney

and Unarmedney, hanging

out in the foggy background.

But where are all the saws in

Sawney? To be honest, when we

first read this title we thought

it was about a crazed killer who

had saw blades for knees.




Il N’y a Pas de

Rapport Sexuel

(There is no Sexual Rapport)

Apparently, when he’s not busy

being Walter White on AMC’s

Breaking Bad, Bryan Cranston

likes to get naked and appear in

French sex documentaries. Of

course, he keeps his participation

in these films extremely

quiet and will probably deny being

involved in them, but we’ve

seen enough of Cranston in his

underpants over the last few

years to know it when we see it.




Finally, someone had the radishes

to make a documentary that

looks at the seedy underbelly of

America’s favorite vegetable/fruit

beverage. Every ingredient is here.

Beets! Watercress! Spinach! Cele

... wait a minute, what’s that? It’s

a movie about a fire-breathing

hot rod that looks like something

Bowser would ride in Mario Kart?

No! Once again, V8 gets the shaft!

Film Report


start by securing 533 screens.

“Even without discussing

film quality, it’s hard to deny

that the backing of major

multiplex theaters was an

absolute factor of the films’

success,” Chun said.

Lim Seong-kyu, a spokesman

at Lotte Entertainment,

declined to comment

specifically on the government

survey, but added that the

company has been collaborating

with film bodies like the

Korea Film Council to achieve

“shared growth” with local film

professionals by strengthening

copyright issues of screenwriters

and properly insuring its

production staffs. Elsewhere,

CJ Entertainment operates

“Movie Collage,” or special

screenings of art house films.

But in a country with less

than 30 art house theaters,

the survey result sums up

the complaints Korean film

directors and producers have

about theater owners.

There are no rules to the

market competition at the

moment,” Korean director

Kim Ki-duk told THR. “In

many countries outside of

Korea, theater owners are

banned from producing or

investing in a film for a good

reason. When I went to a

theater in France, they had 13

screens and they still played 13

different films, and The Dark

Knight was only one of them.”

Pieta, Kim’s latest film

opened in 153 screens locally,

and closed after 27 days.

“Pieta filled 46% of seats on

average,” Kim said. “By the

general market rule, theaters

would have expanded screen

numbers, but films [produced

by affiliates of theaters] with

less than 15% of seating were

given more screens instead.

This attitude of major distributors

shows the market

trend. Clearly, they don’t

want to screen films like Pieta,

because it challenges their

system of filmmaking.” THR



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Kim Ki-duk

The edgy South Korean auteur discusses his

Oscar chances and the alternate ending to his

controversial BIFF entry Pieta By Soomee Park


of his film The Isle at

Sundance in 2001, Kim

Ki-duk, then just an emerging

director, made a small

wire sculpture of a man on a

swing, and gave it to Roger

Ebert, hoping the critic would

give him a favorable review.

But Kim says he later felt

humiliated about the overture,

believing that asking for

such favors is shameful for

an artist. It’s precisely this

uncompromising, rigorous

approach to moviemaking that

Kim is now known for on the

festival circuit. Little over a

decade later, he’s directed 18

films. His latest effort, Pieta,

tells the story of a deranged,

merciless debt collector. Made

for just $13,000, the film won

the Golden Lion Award at this

year’s Venice International

Film Festival and was recently

selected as South Korea’s official

foreign language submission

to the Academy Awards.

Shortly before BIFF, The

Hollywood Reporter caught up

with Kim in a bustling section

of southern Seoul.

South Korea has put forward Pieta

as its official submission to the

85th Oscar’s. How do you think it

will resonate with the Academy?

We’re trying to figure that out.

Our U.S. distributor noted

that the film’s subject matter

is very interesting but some

scenes could be overwhelming

psychologically. I think if you

can bear the beginning, the

interest of the subject matter

and storyline soon become

evident. Pieta delves into the

discord of human relations

within an extreme capitalist

system, as it shows how family

gets disrupted and money creates

distrust between people. I

think this is a universal experience

not only in South Korea

but also in Europe and U.S.

The film’s religious overtones

and its references to the debt

collector from The Merchant of

Venice likely resonate with Italian

audiences. Do you think that

contributed to your Golden Lion

win in Venice?

Maybe. I heard the response

has been quite positive in Italy

since the film opened in 40 to 50


theaters last month. I personally

don’t think the film has a strong

religious subject other than its

title. The notion of forgiveness

and distrust in the film is something

we all need to think about

on a humanistic level.

In one sense, the film’s setting is

reminiscent of Park Chan-wook’s

Lady Vengeance, although the

style and the film’s ending are

very different. How do you feel

about the ending now?

Originally, the story had two endings.

The other ending, which

most people preferred, was a

scene where a mother carrying

a dead son gets burnt to death

in front of Kang-do (the main

character) like the historical

pieta. That ending, for me, was

too obvious and had too many

religious overtones. I wanted the

story to reflect on human agony.

So the one you see now carries

some references to crucifixion.

Have you been tempted to work

within the mainstream system to

attract a broader audience like

Park or Bong Joon-ho?

Strictly speaking, no. I think

I’m a different element than

those directors. If they are

more like wood or metal, I’m

more like soil. They could be

transformed into something

else, but I can’t. I don’t have

the ability to find a middle

ground with my audiences, and

I know this too well. I’ve shot

18 films, and none of them had

a middle ground. I think this is

mainly because I didn’t study

filmmaking, and I don’t know

as much about the process as

Vital Stats

Nationality South Korean

Born May 1, 1969

Film in Busan Pieta

(Korean Cinema Today)

Selected Filmography

Samaritan Girl, 2003; Spring,

Summer, Fall, Winter... and

Spring, 2003; 3-Iron, 2004;

Arirang, 2011

Notable Awards Silver Bear,

Samaritan, 2003, Berlin Film

Festival; Silver Lion, 3-Iron,

2004, Venice Film Festival;

Golden Lion, Pieta, 2012;

Venice Film Festival

they do. I don’t know any way

other than how I shoot. So

audiences have the choice of

following me or not following

me, and I don’t blame them if

they choose not to watch.

Would you be open to an offer

from Hollywood?

Well, before we get that far,

I have to say, I’m not interested

in most stories they want

to tell.

You shot your first film Crocodile

in 1996 and you’ve now spent 16

years making films. How do you

feel that you’ve grown creatively?

I don’t really know how I grow.

I can only see the changes

when I look at the films. I

think the biggest change is

that my earlier films were

quite reckless and strong. I

was very subjective. Many

people who have watched Pieta

have said my filmmaking has

become more objective. I think

I’m just looking in new directions

now. If before I looked

towards the East, now I’m

looking to the West. The funny

thing is, audiences in Europe

are amazed that my films are

so different every time. When I

come to Korea, though, people

ask why my films are so similar.

I can never understand

this gap.

Winning a Golden Lion has

undoubtedly raised your profile.

Do you think South Korean audiences

will approach your films

differently now?

No. They’re happy that I won

the award, but many still don’t

see my films. On the way to this

interview, strangers offered to

shake hands and congratulated

me; but when I asked, none of

them had seen my films. Also,

an artist’s creative energy

is ephemeral as a flower. It

blooms and soon dies. No artist

is great forever. Personally, I

think I reached my peak in

2004 when I shot Samaria and

3-Iron. I might have bloomed

briefly again when I shot Pieta

but who knows what the next

one will be like. THR

CMG 2 D4 100812.indd 1 10/5/12 4:53 PM




Gilbert Lim

The S.E. Asian industry veteran on the fallout of

Sahamongkolfilm’s feud with Tony Jaa and why

rom-coms rule the regional boxoffice By Patrick Brzeski


arrived in Thailand

22 years ago to head

up Sahamongkolfilm’s international

operations, he spoke

no Thai, had few local contacts

and was just 22 years old. His

one asset: first-hand knowledge

of the family trade — buying

and selling movies.

Lim’s father, Sonny Lim, was a

well-known producer and distributor

in Singapore and Malaysia

throughout the 1970s and 80s. He

brought his son into the industry

as soon as he finished school,

dragging the junior Lim along

with him on his rounds through

the film market and festival circuit.

Hustling around the booths

with his father, Lim got to know

Somsak Techaratanaprasert, the

charismatic founder of Sahamongkolfilm,

Thailand’s largest and

oldest distributor. Somsak took

a shine to Lim, and needing an

English-speaking buyer, made

him an impulsive offer: to move

from Singapore and join the

company in Bangkok. Lim has

been the international face of

Sahamongkolfilm ever since.

On the production side,

Sahamongkolfilm is best known

for it’s Tony Jaa action vehicles

(Ong Bak, Tom Yum Goong), but

the studio’s relationship with

Jaa was put on hold following

the disasterous production of

his directorial debut, Ong Bak 2,

which went wildly over-budget

before control of the film was

wrested from Jaa and handed

to director Panna Rittikrai (it

disappoined at the box office).

Lim spoke with The Hollywood

Reporter about the company’s

impending first effort in animation

and how they finally

patched things up with their

flagship star.

What’s your next big project

in the pipeline?

We have a lot of projects in

place, but the one we’re most

excited about now is Yak: The

Giant King. It’s our first animation,

a co-production with

the Thai animation company,

Workpoint Entertainment. We’re

expecting it to be our biggest

film this year. It’s really going

to show what Thailand can do

in animation. Sales-wise we’ve

already been doing pretty well

since Cannes. We’ve closed out

Russia and South Korea. We’re

not planning to sell it much

at Busan; the actual sales will

really kick off once we screen it

at AFM.

What’s the status of Tom Yung

Goon 2 (The Protector 2) with

Tony Jaa? Will it be out this year?

Ah yes, whenever anyone talks

about Sahamongkolfilm, what

they really want to know is

when the next Tony Jaa movie is

coming out [Laughs]. Originally

Tom Yung Goon 2 (The Protector

2) was supposed to be released

at the start of 2013, but due to a

scheduling conflict, we’re pushing

it to the first of May. We were

going to finish filming in August,

but since we’ve pushed it back,

we’ve asked Tony and Prachya

[director Prachya Pinkaew] to

see if they can think up some

more stunts. With an action film

of this kind, if you have more

time, it simply means you can

pack in even more action.

What’s the relationship like

between Tony Jaa and Sahamongkolfilm

now? Some were surprised

to hear that you had found a way

to work together again, after what

happened with Ong Bak 2 and 3.

Whatever issues arose, we’ve


Lim has been the

international point

man for Sahamongkolfilm

for the

past 20 years

settled them. We totally

understand that he has a point

of view and that’s fine, because

most of his ideas are pretty

good. But we’ve asked him to

understand that we have our

priorities for reaching a wide

audience as well. The Protector

2 will be our biggest and most

expensive production ever, with

a budget of about $15 million.

So we’re definitely moving forward.

There are other Tony Jaa

films in the pipeline and we’re

talking with some potential

international co-production

partners who are interested in

working with him. We are in

negotiations for two or three

co-productions, which I can’t

discuss yet. We’re hoping to do

a Tony Jaa film each year.

That’s a pretty rigorous schedule

for a martial arts star entering

his late 30s.

Oh, please, 36 is still young! He’s

still got 25 years before he does

Expendables 10 or whatever.

Some Thai directors we’ve

recently spoken with have said

that if a filmmaker isn’t interested

in making either a rom-com or a

horror movie, it’s very hard to get

financing in Bangkok. What’s your

take from the studio side?

Well, first, I would point out

that we are one of the very few

companies in Thailand that

does explore other genres —

we do put out the occasional

thriller and try different things.

But unfortunately, romantic

comedies and smart horrors

really are the films that have

done the best for us lately.

That’s what the Thai audience

seems to want.

Why do you think these genres are

so much more viable in Thailand?

We generally see that about 70

to 80 percent of our moviegoing

audience in Thailand

is made up of teenagers and

people in their very early 20s.

And it’s only the big Hollywood

special effects features and

horrors and romantic comedies

that appeal to this crowd. For

example, in 2006 we developed

13 Beloved, the psychological

thriller by Chukiat Sakveerakul,

a very smart director.

The film won awards and was

optioned by the Weinsteins

for a remake — a great movie

right? Well, it performed very

averagely for us. If you have

some hot young actors in a

rom-com with heart, it does

very well. So for the time being,

I don’t think there’s any problem

with sticking to what seems

to work. THR

CMG 1 D4 100812.indd 1 10/5/12 4:52 PM




lingers through the first half of the film, which describes the difficult

relationship between Robert Lim (Jericho Rosales) and the bright

little Brian (Bugoy Carino). Nagging, brusque and hyper-critical,

Rosales expertly conveys the over-compensation of the single parent

in the tough love Robert shows his son. He’s a flop as a salesman and

although he raises the boy the best he can after his wife’s death, his

meagre earnings barely pay for a roof over their heads and tuition at

an elite private school, where the rich kids bully Brian.

Perhaps his over-protectiveness bordering on paranoia is

some sort of premonition, because one day he takes Brian to

the penny mall stands for a treat and leaves him alone in the

bathroom for a few minutes while he goes to buy a lottery ticket.

When he returns, Brian has vanished into thin air. The only

trace is on closed circuit TV, which clearly shows a slightly older

boy leading him away.

The last half of the film is the story of Robert’s frantic search

through the infernal bowels of the Filipino city with a pimp

(Smokey Manaloto) for a guide. There he finds the dregs of humanity,

who kidnap children for the same horrifying purposes as their

Indian counterparts did in Slumdog Millionaire. Though the horrors

are only glimpsed at a distance, it’s impossible not to feel indignation

over their existence, which society and the police seem unable

to eradicate. The final scenes hold an unforeseeable twist that


offers closure, though on a mixed note of great joy and terror.

The film owes a great deal to the natural chemistry between

singer-actor Rosales and Carino, the child star of the TV series

E-Boy, whose playful, mischievous nature contrasts with

Rosales’s nervous hen approach to child-rearing. Their spontaneity

is a welcome change from the usual parent-child sentimentality

on screen.

Lorenos keeps his script firmly in hand throughout, reigning in

the emotions until it’s time to let them explode. Whereas at first the

handheld camerawork and overexposed outdoor shots cry indie too

loudly, they become quite expressive as the film goes on through

simple but effective changes in focus, pace, and editing rhythm.

Window on Asian Cinema

Production companies Anakim Media Productions

in association with Visayan Forum

Cast Jericho Rosales, Bugoy Carino, Leo Martinez,

Smokey Manaloto, Carmen Soo, John Manalo

Director Ian Lorenos

Screenwriter Ian Lorenos

Producers Jericho Rosales, Marge Lao, Bianca Balbuena,

Ian Lorenos

Executive producer Gloria Lau

Director of photography Rommel Sales

Production designer Ericson NavarroEditor: Dempster Samarista

Music Gabriel Valenciano

CreativeCentury D? 10??12.indd 1 10/4/12 9:37 AM


film predicated upon

violence against women,

in Azooma a very young one.

Whether the second film featured

at BIFF this year to hinge

on a single divorced mother’s

quest for vengeance after the

rape of a child — following

Don’t Cry, Mommy — forms

the kernels of a larger trend

remains to be seen, but clearly

the unpunished rape of young

girls is on the collective mind

in the ROK these days. Azooma

is an even swifter and more

stylized interpretation of the

story with, if it’s possible, even

more bureaucratic bungling,

official corruption and medical

malaise (“Her life is going to

be ruined forever,” advises a

doctor). As with the prior film,

regional success will come from

genre fans and festivals, while

release overseas will be limited

to niche markets.

Azooma begins with what

appears to be a mugging. A

man (Hwang Tae-kwang) and

a woman (Jang Young-nam)

tussle over a bag, before he

gets the upper hand and beats

the tar out of her. But she

gives chase and finally corners

him in an alley where she

tries to enlist the help of two

out-of-shape beat cops. First,

however, the story flashes back

to the night she found her

10-year-old daughter Yeon-ju

(Lee Jae-hee) lying in the

street after being assaulted by

a serial rapist. Into this mix


Azooma is the

second film at BIFF

to feature a vengeful

mother in the lead.


A short, sharp, shock of a revenge thriller

that trades in violence against women for its

cathartic pleasures By Elizabeth Kerr

come the eminently bribable

Detective Ma (Don Lee), her

image-conscious ex-husband

(Bai Song-woo) and a lawyer

who won’t help because,

“63.5% of these criminals

never get prosecuted.”

Azooma, a former dental

assistant, finally hires a pair of

thugs to find the criminal and

proceeds to go all Marathon

Man on him, with a little Dexter

thrown in.

Like her counterpart in Don’t

Cry, Mommy, Azooma, as she is

called — which sounds like the

somewhat dismissive term for

“lady” in Korean — is portrayed

as a righteous avenger and her

actions are never even suggested

as being wrong. Where

Don’t Cry is structured as a slow

build to bloody retribution,

Azooma’s is an explosion — and

it’s quite an explosion. Satisfying,

in a twisted way, as the

finale is, director Lee Jiseung

and co-writer Kim Hyong-kuk

never go deeper than turning a

light on the most basic observations

(newsflash: the law needs

to be more responsive to rape)

and only skirt over the morality

of Azooma’s decisions. Once

again the filmmakers opt for

easy emotionalism in answer

to a subject that is much

more complex.

Korean Cinema Today

Production company

Cinema Factory


Lee Jiseung

meet the

european film industry

at the Asian Film Market

October 8-11, 2012


at BEXCO (Centum area)

with the support of the EU ME-

DIA programme


Austrian Film Commission




Finnish Film Foundation


alpha violet

Bac Films Distribution

Capricci Films

Celluloid Dreams /

Celluloid Nightmares


Films Distribution


Insomnia World Sales

Le Pacte

uniFrance films

Urban Distribution International



Beta Cinema

Films Boutique

m-appeal world sales

Sola Media



Istituto Luce Cinecittà

Italy/United Kingdom

Fandango Portobello


Polish Film Institute


Film Center Serbia

Sweden/ Finland

The Yellow Affair

EFP is supported by


Swiss Films


Despite its convent

setting, Sandoval’s

film is not overly

concerned with religion.


Filipino director Vincent Sandoval follows

his transgender drama Senorita with a story

about nuns living in a remote convent during

the Marcos years By Deborah Young


faith in the remote mountain

cloister in Apparition,

where a small group of

Catholic nuns practice poverty,

chastity and obedience. What

director Vincent Sandoval

(Senorita) seems most interested

in is using the convent as

a metaphor for Filipino society

in the Seventies, which buried

its head in the sand while

president Ferdinand Marcos


Megan Griffiths takes an

alternative approach toward

otherwise lurid subject matter

in this fact-based drama

By John DeFore


Eden tells the survival tale of

a Korean-American girl kidnapped

by a prostitution ring in 1994. A big change

from director-co-writerMegan Griffiths’s last

feature, The Off Hours, this one is impossible

to ghettoize as a festival-only film and has

strong prospects, in art houses and perhaps

in a wider theatrical run.

Winner of SXSW’s Audience Award for

narrative feature, the picture takes a nonexploitative

approach to lurid material. Jamie

Chung plays Hyun Jae, a New Mexico teen

declared martial law and

police tortured and murdered

opposition protestors. Fans of

Xavier Beauvois’ contemplative

art house hit Of Gods and Men,

which has several points of

similarity, are likely to be disappointed

at Sandoval’s mundane

focus, though its well-shot subject

could attract some interest

outside festivals after its Busan

and Vancouver bows.

When bright-eyed novitiate


Sister Lourdes (Jodi Sta. Maria)

arrives at the convent of Adoration,

tucked way up a forested

mountain, she finds a dozen nuns

living as a family protected from

the world around them. Mother

Superior (Fides Uyugan-Asensio)

is strict but not a monster, the

mature Sister Vera (Raquel

Villavicencio) a little dour and

forbidding, and the others are

sweet-faced ladies who just want

to follow the rules and pray.

Nothing wrong with that, were

it not for the disturbances happening

outside. Protest rallies

are taking place almost daily

in Manila and the brother of

Sister Remy (Mylene Dizon) has

been arrested by the police. Not

surprisingly, Mother Superior

(who reads the newspaper and

knows what’s going on) advises

her sheltered brood to sit tight

and say their prayers.

Of course the outside world

eventually impinges on their

peaceful, see-no-evil lives. First,

independent young Sister Remy

sneaks a radio into her room and

then begins attending political

meetings against Marcos. Since

she and Sister Lourdes are the

convent’s two “externs,” only

they are allowed to make the

long trek through the woods to

get supplies in town. On one such

occasion they are late in returning,

and in the dark get attacked

who gets into a stranger’s car and winds up

deep in the desert, imprisoned in a self-storage

facility where dozens of girls are forced to

work as call girls by a team whose boss (Beau

Bridges) is a corrupt Federal Marshall.

After unsuccessful attempts at escape, the

girl (nicknamed Eden) adapts, accepting

her plight to such an extent that she helps

drug-addled captor Vaughan recapture other

escapees in order to curry favor.

As Eden becomes part of the organization’s

day-to-day operation, Chung and

Griffiths refuse to overdramatize the psychological

tradeoffs survival demands. Eden’s

decision to put her conscience on ice is a

mostly internal struggle; she’s usually as outwardly

cool as Bridges is, though both characters

encounter one or two surprises that

make complete unflappability impossible.

By putting the script’s emphasis on Eden’s

adaptation instead of on the violations she

by a band of thugs, who brutally

gang rape one of them.

With the safety of their

monastic sanctuary violated,

the nuns are no longer in peace.

The rest of the film follows

their reaction to this disaster,

which includes an unwanted

pregnancy, deep emotional

scars and guilty consciences.

Though there is a lot of praying

in the chapel, the film never

suggests any divine comfort. As

the opening quote about a sick

society from Communist leader

Antonio Gramsci suggests,

Sandoval’s is a lay approach that

has little to offer to religiousminded

viewers. More importantly,

the characters begin to

have improbable reactions that

question their credibility. Would

a meek Catholic nun furiously

demand to have an abortion,

for example? As the metaphor

of the convent as society in

miniature takes precedence over

realism, the rape’s aftermath

becomes less and less involving,

despite the film’s perfectly

adequate all-female cast.

New Currents

Production companies:

Autodidact Pictures, Cinemalaya


Cast: Mylene Dizon, Jodi Sta.

Maria, Fides Uyugan-Asensio

Director: Vincent Sandoval

Eden won the Audience Award at SXSW.

must endure, the filmmakers both avoid having

to show the most degrading action and

make the story easily embraced by those who

feel women onscreen are too often viewed as

mere victims.

World Cinema

Director Megan Griffiths

Screenwriters Richard B. Phillips,

Megan Griffiths



A slick Korean thriller that has its charms for fans

— if you don’t look to closely By Elizabeth Kerr



suffers a devastating

psychotic break when

he discovers his wife’s infidelity

in writer-director Kim Sunghong’s

debut feature Doctor, a

well-paced piece of the genre

filmmaking that the Korean

industry seems to be able to

churn out so well. Borrowing

heavily from a plethora of

sources yet somehow making

them fit together, this

is also precisely the type of

Korean film that plays well

overseas. On the downside, it’s

yet another film that trades

in violence against women.

The thriller touches on the

high price of vanity and ugly,

latent gender dynamics (that

predictably come down in favor

of the gentlemen) and wraps

it up in cheap pop psychology

as an explanation for all.

Nonetheless, Doctor is polished

entertainment that will likely

find an audience in Asia, with

genre festivals overseas and in

limited release through specialty

distributors. A healthy

DVD and download life looks

like a sure thing.

By all accounts, fiftysomething

plastic surgeon Choi

In-bum (television veteran Kim

Chang-wan) lives a charmed,

successful life. His cosmetic

surgery clinic is booming, he

owns an ultra-modern luxury

home in an exclusive neighborhood

and he’s married to

a beautiful, much younger

woman, Soon-jung (Bae Soeun).

But signs of something

sinister abound. Aping Sion

Sono’s Guilty of Romance,

In-bum treats Soon-jung like a

reformed (from what is never

clearly explained) low-rent

serf and he’s prone to flying

into rages when she chooses a

“tasteless” tie for him to wear.

He’s also a professional despot

and possibly a junkie. Things

get even worse when In-bum

unexpectedly goes back home

and finds her in the middle of a

lusty encounter with her lover,

a personal trainer that exclusively

wears pants that are four

inches too short, Young-gwan


(Seo Gun-woo). Cue the

psychotic break and couple

of wildly murderous days at

the clinic.

Aside from the Sono

shout-out there’s a touch of

Cronenbergian body horror

and a narrative device that

brings Pedro Almodóvar’s The

Skin I Live In to mind. Doctor

cleaves closely to the mad

rampage map, and does so in

spectacularly gory — and creative

— fashion. It goes without

saying the film boasts dozens

of WTF moments and tiny red

herrings designed to ratchet

up the tension, which in reality

will have veteran genre viewers

knowingly rolling their eyes.

After wisely calling the police

when he discovers that horrors

have transpired in his lover’s

house, does Young-gwan do

the same thing at the hospital?

No. Knowing In-bum’s wife is a

likely target as well as a sitting

duck after the mad doctor’s

freakout, do the police put even

a rookie beat cop outside her

door? No. For every unexpected

smart move, and there are a

few, Kim follows it up with a

dumb one, making for a frustrating

viewing experience.

Most frustrating perhaps is

Kim Chang-wan plays a

crazed plastic surgeon set

off by an act of infidelity

the notable fact that Doctor’s

resident misogynist is a plastic

surgeon, and that the scene of

the bloodbath is his temple to

artificial beauty. The wisdom

or politics of cosmetic surgery

aside, the message that comes

through loud and clear is that

vanity will kill you (Soon-jung’s

mother also incurs In-bum’s

wrath), yet Soon-jung is very

clearly told at one point to suck

up her unhappy marriage for

just a little while to insure a

decent alimony settlement (why

bother with a job?). So, Soonjung

should be beautiful (and the

film’s big twist involves her own

procedures), but she should also

be prepared to suffer for it? It

seems women in Korea just can’t

catch a break.

Gala Presentation

Production company

Nomad Film

Producer Cha Seung-jai,

Hwang Kyung-sung,

Cho Han-joo

Director Kim Sung-hong

Cast Kim Chang-wan,

Bae So-eun, Seo Gun-woo,

Ban Min-jeong

Screenwriter Kim Sung-hong

Executive producer

Hwang Kyung-sung

TIFF D4 100812.indd 1 10/2/12 1:56 PM



a would-be romance in

the Tuscany-set Certified

Copy, Iranian auteur Abbas

Kiarostami takes another trip

abroad to explore the depths of

unrequited desire in the Japanese

drama, Like Someone in Love.

However, this being a Kiarostami

movie, the “Like” part of the title

is to be taken quite literally here,

and this enchanting affair (of

sorts) between a retired professor

and a young call girl is never

exactly what it seems. Upscale

art houses and admirers of the

Palme d’Or laureate will be the

major clients of this tenderhearted

and melancholic work.

A lengthy opening in a

crowded Tokyo bar sets the

pace: We see people drinking as

a jazzy soundtrack plays in the

background, but what we hear

is the voice of a woman talking

on the phone to her boyfriend,

pretending to be somewhere she

isn’t. Only when the camera cuts

do we see that the voice belongs

to the timidly beautiful Akiko

(Rin Takanashi), a student doubling

as an escort, who’s about

to be sent by her pimp (Denden)

on a very special rendezvous.

Akiko soon arrives at the home

of the elderly sociologist, Takashi

(Tadashi Okuno), who seems to

be geared up for a date, though

that’s not what happens: After

Tadashi Okuno plays

a grandfatherly

sociologist in


latest drama.

Like Someone in Love

Abbas Kiarostami’s Japanese drama is

an enchanting game of misfired passions and

mistaken identities By Jordan Mintzer

the two engage in a long conversation

about a painting hanging

on Takashi’s wall, Akiko heads

into the bedroom and undresses,

but a phone call delays things,

and she winds up passing out on

the old man’s bed.

The next day, Takashi drives

Akiko to university and crosses

paths with her macho, nervy

boyfriend, Noriaki (Ryo Kase,

Restless). When the latter mistakes

the professor for his girl’s

grandfather, Takashi decides

to go along, and much like in

Certified Copy, the narrative

becomes an extended quid

pro quo, where the characters

decide to take on different

personas out of either desire or

happenstance, or both. Thus,

Takashi turns into Akiko’s protector,

while she becomes the

granddaughter that he seems to

be estranged from.

Where all the role-playing

leads is surprising to say the

least, and viewers familiar with

Kiarostami’s typically serene

dramas will have another thing

coming to them.

A Window on Asian Cinema

Production companies

MK2, Eurospace

Cast Rin Takanashi, Tadashi

Okuno, Ryo Kase

Director, screenwriter

Abbas Kiarostami


The Sound of Memories

Unintentionally hilarious and thoroughly

pretentious experimental “art” film says

nothing and goes nowhere By Elizabeth Kerr


sequences of writer-director Lee Gong-hee’s The Sound of

Memories is more like basking in a 1980s era Mexican telenovela

or a sketch comedy troupe’s Ingmar Bergman parody.

Either way, the willfully abstract and screamingly oblique film

about a woman’s growing obsession with her dead sister is a

disjointed, pretentious mess that claims also to be about the

“sound of memory,” and can’t even get that right — the film’s

sound quality is distractingly poor. The Sound of Memories is

nigh on unsellable as an art house film both regionally and

internationally, and even

extended festival play seems

like a long shot.

The film begins with a

filmmaker (Jung Chung-gu)

intoning dramatically about

the story he’s telling about

the film within the film and

how it all started with the

cave. We then see Yunhui

(Yeo Min-joo) and Hangi

(Hong Do-yun, a younger,

less talented Jang Dong-

Gore and melodrama abound in this

gun), spreading the recently self-indulgent art house debut.

deceased actress Yunju’s (Kim

Soo-in) ashes on the lake near her country home. At the time

of her death, Yunju was making a film about some strange shenanigans

in a sinister cave nearby, which the director suggested

she better understand by listening to various sounds, which

promptly make her crazy. In the present, Yunhui continues to

carry on with Yunju’s old boyfriend Hangi, a relationship that

began when Yunju was still alive, as well as take over her role in

the film. There’s a jealous costume designer and a love struck

production assistant lingering on the sidelines, and in between

all the angsting and soulful staring we’re treated to some

random modern dance. Eventually Yunhui is totally consumed

by the memory of Yunju, which compels her to stab at the lake

with a large blade.

The community theater-level performances don’t help the

muddled, time-shifting story, such as it is, though it’s hard to

hold much against the actors who were given the material. The

Sound of Memories is one of those films that, when viewed, you

can easily imagine the director on set saying, “Now, gaze into

the distance!” This is the worst kind of vanity filmmaking —

the kind that tries desperately to be deep but only succeeds in

being completely baffling, both artistically and commercially.

Early segments hint that the film might take a campy horror caption

turn (think Karen Black’s cult classic Trilogy of Terror, particularly

the segment featuring the tribal doll) but Lee remains

steadfastly serious in her exploration of identity, memory and

remorse. Gee, that’s new.

Korean Cinema Today: Vision

Production company Lee GongHee Film

Director - Producer - Screenwriter Lee Gong-hee

Cast Jung Chung-gu, Yeo Min-joo, Kim Soo-in, Hong Do-yun

Screen Singapore D4 100812.indd 1 9/28/12 11:02 AM



10:00 Barbara, World

Cinema, 2012 / 105min /

35mm / Color, C2; Paradise:

Love, World Cinema,

2012 / 120min / HDCAM /

Color, L5; Breakaway, A

Window on Asian Cinema,

2012 / 88min / DCP / Color,

L4; Identification Marks:

None, Poland in Close-up:

The Great Polish Masters,

1964 / 71min / (Digi)Beta

/ B&W, B2; Diablo, A Window

on Asian Cinema, 2012

/ 113min / DCP / Color, M4;

Gangs of Wasseypur Part

1&2, Midnight Passion, 2012

/ 320min / 35mm / Color,

M6; Your Time Is Up, New

Currents, 2012 / 85min /

DCP / Color, C4; Here and

There, World Cinema, 2012

/ 110min / DCP / Color, M9;

National Security, Gala

Presentation, 2012 / 110min

/ HDCAM / Color, B1; The

Ugly Duckling, Korean Cinema

Today-Panorama, 2012

/ 97min / DCP / Color, CA;

Doctor, Gala Presentation,

2012 / 97min / DCP / Color,

C1; Soar into the Sun,

Special Programs in Focus-

Special Screening, 2012 /

113min / DCP / Color, CS;

Cold War, Opening night

film, 2012 / 102min / DCP

/ Color, MM; Tour of Duty,

Wide Angle - Documentary

Competition, 2012 / 150min

/ HDCAM / Color, C3

11:00 Calm at Sea, World

Cinema, 2011 / 90min /

(Digi)Beta / Color, C6;

Violeta Went to Heaven,

World Cinema, 2011 /

110min / DCP / Color, L6;

Helpless, Korean Cinema

Today-Panorama, 2012

/ 117min / DCP / Color,

C7; Nameless Gangster:

Rules of the Time, Korean

Cinema Today-Panorama,

2012 / 133min / DCP /

Color, CB; In Another

Country, Korean Cinema

Today-Panorama, 2012 /

89min / HDCAM / Color,

C5; Shadows of Forgotten

Ancestors, Special

Programs in Focus The

Eternal Travelers for Freedom:

Sergei Parajanov and

Mikhail Vartanov, 1965 /

92min / (Digi)Beta / Color,

B3; Still, World Cinema,

2012 / 93min / DCP / Color,

SH; Tumbleweed, Korean

Cinema Today-Panorama,

2012 / 111min / DCP / Color,

L3; The Weight, Korean

Cinema Today-Panorama,

2012 / 107min / DCP /

Color, MBT1

13:00 Polluting Paradise,

Wide Angle - Documentary

Showcase, 2012 / 98min

/ 35mm / Color, M7; Captive,

A Window on Asian

Cinema, 2012 / 120min /

DCP / Color, M4; Father

of a Soldier, Special Programs

in Focus-Archeology

of Cinema, 1964 / 88min

/ DCP / Color, B1; Ghost

in the Shell S.A.C. Solid

State Society 3D, Special

Programs in Focus-Special

Screening, 2011 / 108min

/ DCP / Color, BH; Over

and Over Again, Korean

Cinema Today-Vision,

2012 / 81min / DCP / Color,

MM; Lore, World Cinema,

2011 / 104min / DCP /

Color, C2; Blood Pressure,

World Cinema, 2012

/ 94min / HDCAM / Color,

L5; Two Weddings and a

Funeral, Korean Cinema

Today-Panorama, 2012

/ 106min / DCP / Color,

CA; Something in the

Air, World Cinema, 2011 /

122min / 35mm / Color, C3;

State of Emergency, Flash

Forward, 2011 / 100min

/ (Digi)Beta / Color, B2;

Kayan, New Currents, 2012

/ 86min / HDCAM / Color,

C4; The Thieves, Open Cinema,

2012 / 135min / DCP

/ Color, M9; Asian Short

Film Competition 1, Wide

Angle - Asian Short Film

Competition, L4

13:30 Pieta, Korean Cinema

Today-Panorama, 2012

/ 104min / DCP / Color, CS

14:00 The Concubine,

Korean Cinema Today-Panorama,

2012 / 122min / DCP /

Color, L6; 10+10, A Window

on Asian Cinema, 2011 /

114min / DCP / Color+B&W,

CB; Beautiful 2012, A

Window on Asian Cinema,

2012 / 90min / HDCAM /

Color, M2; A Royal Affair,

World Cinema, 2011 / 131min

/ 35mm / Color, B3; Night of

Silence, World Cinema, 2011

/ 92min / DCP / Color, COMC;

The Life of Budori Gusuko,

Wide Angle - Animation

Showcase, 2012 / 106min

/ HDCAM / Color, MBT1;

Antiviral, World Cinema,

2012 / 112min / DCP / Color,

L3; Shell, World Cinema,

2012 / 90min / DCP / Color,

M3; Night Train, Poland in

Close-up: The Great Polish

Masters, 1959 / 93min / DCP /

B&W, M1; Dormant Beauty,

World Cinema, 2012 / 110min

/ DCP / Color, SH; Azooma,

Korean Cinema Today-Vision,

2012 / 74min / DCP / Color,

C5; The Winter of the Year

was Warm, Korean Cinema

Today-Panorama, 2012 /

100min / HDCAM / Color,

C6; Spring, Spring, Korean

Cinema Retrospective SHIN

Young-kyun, the Masculine

Icon of Korean Cinema: From

Farmhand to King, 1969 /

65min / 35mm / Color, MBT2

15:00 The Gardener, Gala

Presentation, 2012 / 87min

/ DCP / Color, C1

15:30 The Russian Novel,

Korean Cinema Today-

Vision, 2012 / 140min / DCP

/ Color, MM

16:00 Mía, World Cinema,

2011 / 105min / (Digi)Beta

/ Color, B2; Fatal, New

Currents, 2012 / 103min

/ HDCAM / Color, C3;

Shyamal Uncle Turns

off the Lights, A Window

on Asian Cinema, 2012 /

65min / (Digi)Beta / Color,

CA; 5 Broken Cameras,

Wide Angle - Documentary

Showcase, 2011 / 90min

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

C2; The Last Sentence,

World Cinema, 2011 /

104min / DCP / B&W, M7;

The Good Lie, World Cinema,

2012 / 93min / DCP /

Color, B1; Together, New

Currents, 2012 / 114min

/ DCP / Color, M6; Dust

on Our Hearts, World

Cinema, 2012 / 91min / DCP

/ Color, L5; The Domino

Effect, World Cinema, 2012

/ 100min / DCP / Color, M4;

The Sound of Memories,

Korean Cinema Today-

Vision, 2012 / 102min /

35mm / Color, C4; Doctor,

Gala Presentation, 2012 /

97min / DCP / Color, BH;

Asian Short Film Competition

3, Wide Angle - Asian

Short Film Competition, L4

16:30 If Only Everyone,

World Cinema, 2012 / 98min

/ DCP / Color, M9; Behind

the Camera, Korean Cinema

Today-Panorama, 2012 /

85min / DCP / Color, CS

17:00 Caesar Must Die,

World Cinema, 2012 / 76min

/ DCP / Color+B&W, SH;

Architecture 101, Korean

Cinema Today-Panorama,

2012 / 118min / DCP / Color,

MBT2; Student, A Window

on Asian Cinema, 2012 /

90min / DCP / Color, CB; The

Empty Home, A Window

on Asian Cinema, 2012 /

98min / DCP / Color, M1; The


Pirogue, World Cinema,

2012 / 87min / DCP / Color,

L3; Touch of the Light, New

Currents, 2012 / 110min /

DCP / Color, COMC; Crows,

Poland in Close-up: The

Great Polish Masters, 1994

/ 63min / 35mm / Color, B3;

Beyond School, Wide Angle

- Documentary Showcase,

2012 / 68min / HDCAM /

Color, C6; Beyond the Hills,

World Cinema, 2012 / 150min

/ DCP / Color, M2; Embers,

Wide Angle - Documentary

Competition, 2012 / 77min

/ DCP / Color, C5; Purge,

World Cinema, 2012 / 125min

/ DCP / Color, L6; Jiseul,

Korean Cinema Today-Vision,

2012 / 108min / DCP / B&W,

M3; Touch, Korean Cinema

Today-Panorama, 2012 /

99min / DCP / Color ,C7

19:00 Postcards from the

Zoo, A Window on Asian

Cinema, 2012 / 95min /

DCP / Color, CA; Eat Sleep

Die, World Cinema, 2012 /

104min / DCP / Color, M4;

Go Grandriders, Wide

Angle - Documentary

Competition, 2012 / 90min

/ DCP / Color, C4; The Scar,

Flash Forward, 2012 / 80min

/ DCP / Color, B1; Woman’s

Lake, World Cinema, 2012

/ 89min / DCP / Color, M6;

Promised Land, Poland in

Close-up: The Great Polish

Masters, 1974 / 179min / DCP

/ Color, M7; In God’s Land,

Wide Angle - Documentary

Competition, 2012 / 75min /

(Digi)Beta / Color, C3; Melo,

Korean Cinema Today-

Vision, 2012 / 119min / DCP /

Color, C2; Love Epic, Special

Programs in Focus Afghanistan

National Film Archive:

The Rise from the Ashes,

1986 / 160min / (Digi)Beta

/ Color, B2; The Gardener,

Gala Presentation, 2012 /

87min / DCP / Color, BH;

The Commander and the

Stork, World Cinema, 2012

/ 108min / DCP / Color, L5;

Asian Short Film Competition

2, Wide Angle - Asian

Short Film Competition, L4

19:30 Modus Anomali,

Midnight Passion, 2012 /

87min / 35mm / Color, M;

Argo, World Cinema, 2012

/ 120min / DCP / Color, CS

20:00 Compliance, Midnight

Passion, 2012 / 90min

/ DCP / Color, M2; Poor

Folk, A Window on Asian

Cinema, 2012 / 105min / DCP

/ Color, M1; Fuer Elise, Flash

Forward, 2012 / 94min / DCP

/ Color, L6; A Year of the

Quiet Sun, Poland in Closeup:

The Great Polish Masters,

1984 / 105min / 35mm /

Color, B3; Soegija, A Window

on Asian Cinema, 2012 /

110min / DCP / Color, MM;

Rhino Season, Gala Presentation,

2012 / 93min / DCP

/ Color, SH; Pluto, Korean

Cinema Today-Vision, 2012

/ 120min / DCP / Color, C7;

Mai Ratima, Korean Cinema

Today-Vision, 2012 / 123min

/ DCP / Color, COMC; Sunshine

Boys, Korean Cinema

Today-Vision, 2012 / 83min /

DCP / Color, M3; Don’t Cry,

Mommy, Open Cinema, 2012

/ 90min / DCP / Color, BT;

Seven Something, A Window

on Asian Cinema, 2012 /

Director Tony Tang’s

second animated

feature, Sky Force 3D,

is a U.S.-Hong Kong


153min / DCP / Color, L3; Red

Scarf, Korean Cinema Retrospective

SHIN Young-kyun,

the Masculine Icon of Korean

Cinema: From Farmhand to

King, 1964 / 100min / DCP /

Color, CB; The Power for Ten

Years, Korean Cinema Retrospective

SHIN Young-kyun,

the Masculine Icon of Korean

Cinema: From Farmhand to

King, 1964 / 93min / 35mm

/ B&W, MBT2; Short Film

Showcase, Wide Angle -

Short Film Showcase, C6


10:00 The Fourth State,

Midnight Passion, 2012 /

110min / 35mm / Color, C4;

Fatal, New Currents, 2012

/ 103min / HDCAM / Color,

CA; Rent-A-Cat, A Window

on Asian Cinema, 2012 /

110min / HDCAM / Color,

B1; The Beginning and the

End, Special Programs in

Focus-Arturo Ripstein: Four

Stories of Captive Minds,

1993 / 170min / 35mm /

Color+B&W, C2; The Hunt,

World Cinema, 2012 /

111min / DCP / Color, L4; La

Playa D.C., World Cinema,

2012 / 90min / DCP / Color,

M9; Shell ,World Cinema,

2012 / 90min / DCP / Color,

MM; Identification Marks:

None, Poland in Close-up:

The Great Polish Masters,

1964 / 71min / (Digi)Beta /

B&W, B2; Captain Kang,

Wide Angle - Documentary

Showcase, 2012 / 78min

/ HDCAM / Color, C3; All

Apologies, A Window on

Asian Cinema, 2012 / 88min

/ DCP / Color, M4; Pluto,

Korean Cinema Today-

Vision, 2012 / 120min / DCP

/ Color, M6; The Gardener,

Gala Presentation, 2012

/ 87min / DCP / Color,

CS; Arjun, Wide Angle -

Animation Showcase, 2012

/ 95min / DCP / Color, BH;

The Patience Stone, World

Cinema, 2012 / 98min /

DCP / Color, L5

11:00 Sofia and the Stubborn,

World Cinema, 2012

/ 74min / DCP / Color, SH;

The Taste of Money, Korean

Cinema Today-Panorama,

2012 / 115min / DCP / Color,

CB; Helpless, Korean

Cinema Today-Panorama,

2012 / 117min / DCP / Color,

MBT1; Marie Kroyer, World

Cinema, 2012 / 98min / DCP

/ Color, L3; The Legend of

Suram Fortress, Special

Programs in Focus The Eternal

Travelers for Freedom:

Sergei Parajanov and Mikhail

Vartanov, 1984 / 88min /

(Digi)Beta / Color, B3; The

Empty Home, A Window on

Asian Cinema, 2012 / 98min

/ DCP / Color, L6; Four Stations,

A Window on Asian

Cinema, 2012 / 108min /

(Digi)Beta / Color, C5; The

Sound of Memories, Korean

Cinema Today-Vision, 2012

/ 102min / 35mm / Color,

C7; Your Time Is Up, New

Currents, 2012 / 85min / DCP

/ Color, C6

13:00 Horses of God,

World Cinema, 2012 /

115min / DCP / Color, L4;

After Lucia, World Cinema,

2012 / 102min / DCP /

Color, B2; Imagine, World

Cinema, 2012 / 105min

/ 35mm / Color, C4; The

Pirogue, World Cinema,

2012 / 87min / DCP / Color,

B1; Over and Over Again,

Korean Cinema Today-

Vision, 2012 / 81min / DCP /

Color, CA; The Saragossa

Manuscript, Poland in

Close-up: The Great Polish

Masters, 1964 / 185min /

DCP / B&W, M2; Beyond

the Hills, World Cinema,

2012 / 150min / DCP /

Color, M6; Wellang Trei,

Wide Angle - Documentary

Competition, 2012 / 80min

/ HDCAM / Color+B&W ,C3;

Jiseul, Korean Cinema

Today-Vision, 2012 /

108min / DCP / B&W, M4;

Don’t Cry, Mommy, Open

Cinema, 2012 / 90min /

DCP / Color, M9; Touch,

Korean Cinema Today-

Panorama, 2012 / 99min /

DCP / Color, CS; Sky Force

3D, World Cinema, 2012 /

91min / DCP / Color, BH;

El Maestro Saharaui,

Wide Angle - Documentary

Showcase, 2011 / 76min /

(Digi)Beta / Color, L5

13:30 Life Sentence,

Special Programs in Focus-

Arturo Ripstein: Four Stories

of Captive Minds, 1979

/ 95min / 35mm / B&W, C2;

Berberian Sound Studio,

World Cinema, 2012 /

92min / 35mm / Color, M7

14:00 Shadow People, Midnight

Passion, 2012 / 85min

/ HDCAM / Color, C6; The

Concubine, Korean Cinema

Today-Panorama, 2012 /

122min / DCP / Color, CB;

Holy Motors, World Cinema,

2012 / 116min / DCP / Color,

SH; The Fifth Season, World

Cinema, 2012 / 94min / DCP

/ Color, M1; A Better Life

Is Elsewhere, Wide Angle

- Documentary Showcase,

2012 / 90min / DCP / Color,

L3; Dormant Beauty, World

Cinema, 2012 / 110min / DCP

/ Color, L6; Pinocchio, Open

Cinema, 2012 / 80min / DCP

/ Color, COMC; The Last

Time I Saw Macao, World

Cinema, 2012 / 85min / DCP

/ Color, M3; Akhtar the

Clown, Special Programs in

Focus Afghanistan National

Film Archive: The Rise from

the Ashes, 1981 / 77min /

(Digi)Beta / B&W, B3; Perfect

Number, Korean Cinema

Today-Panorama, 2012 /

119min / DCP / Color, C7;

Rice, Korean Cinema Retrospective

SHIN Young-kyun,

the Masculine Icon of Korean

Cinema: From Farmhand to

King, 1963 / 124min / 35mm /


14:30 Ernest & Celestine,

Wide Angle - Animation

Showcase, 2012 / 80min /

DCP / Color, MBT1

15:00 El Condor Pasa,

Gala Presentation, 2012 /

101min / DCP / Color, C1

16:00 EunGyo, Korean

Cinema Today-Panorama,

2012 / 129min / DCP / Color,

CA; Noor, World Cinema,

2012 / 77min / DCP / Color,

M9; Sinister, Midnight Passion,

2012 / 110min / DCP /

Color, M4; Our Homeland,

A Window on Asian Cinema,

2012 / 100min / HDCAM /

Color, B1; In the Fog, World

Cinema, 2012 / 128min /

35mm / Color, M6; Abigail

Harm, World Cinema, 2012


/ 80min / DCP / Color, L5;

Together, New Currents,

2012 / 114min / DCP / Color,

L4; Material, World Cinema,

2012 / 93min / 35mm /

Color, C4; Forest Dancing,

Wide Angle - Documentary

Competition, 2012 /

105min / HDCAM / Color,

C3; Once Upon a Time,

Special Programs in Focus

Afghanistan National Film

Archive: The Rise from the

Ashes, 1969 / 127min / (Digi)

Beta / B&W, B2; B·E·D, Gala

Presentation, 2012 / 90min

/ DCP / Color, CS; The Sapphires,

World Cinema, 2012

/ 103min / DCP / Color, BH;

Birth of Happiness, Special

Programs in Focus-Archeology

of Cinema, 1963 / 91min

/ DCP / B&W, C2

16:30 Salt, World Cinema,

2011 / 114min / DCP /

Color, M7

17:00 Laurence Anyways,

World Cinema, 2012 /

169min / DCP / Color, SH;

Stitches, Midnight Passion,

2012 / 87min / DCP / Color,

M3; 36, New Currents,

2012 / 68min / DCP / Color,

C6; Cul-de-sac ,Poland in

Close-up: The Great Polish

Masters, 1966 / 113min /

35mm / B&W, B3; Diablo ,A

Window on Asian Cinema,

2012 / 113min / DCP / Color,

CB; Yuma, World Cinema,

2012 / 113min / DCP / Color,

L3; The Ugly Duckling,

Korean Cinema Today-

Panorama, 2012 / 97min

/ DCP / Color, COMC; Thy

Womb, A Window on Asian

Cinema, 2012 / 106min /

DCP / Color, M1; Water,

World Cinema, 2012 /

140min / HDCAM / Color,

C5; Steel, Flash Forward,

2012 / 95min / DCP / Color,

L6; Comrade Kim Goes

Flying, Special Programs

in Focus-Special Screening,

2012 / 81min / DCP /

Color, C7; Prince Daewon,

Korean Cinema Retrospective

SHIN Young-kyun, the

Masculine Icon of Korean

Cinema: From Farmhand to

King, 1968 / 120min / 35mm

/ Color, MBT2

17:30 Pilgrim Hill, World

Cinema, 2011 / 76min /

HDCAM / Color, M2

19:00 Kill Me, World

Cinema, 2011 / 91min / DCP

/ Color, M6; Mía, World

Cinema, 2011 / 105min

/ (Digi)Beta / Color, C2;

Distortion, A Window

on Asian Cinema, 2012

/ 111min / 35mm / Color,

C4; Vanishing Waves,

Midnight Passion, 2012 /

120min / DCP / Color, M9;

The Scar, Flash Forward,

2012 / 80min / DCP / Color,

L5; Reported Missing,

World Cinema, 2012 /

86min / 35mm / Color, M4;

Hello Goodbye, A Window

on Asian Cinema, 2012 /

122min / DCP / Color, CS;

Anxiety, Wide Angle -

Documentary Competition,

2012 / 95min / HDCAM /

Color, C3; Sunshine Boys,

Korean Cinema Today-

Vision, 2012 / 83min / DCP

/ Color, CA; The Stranger,

Special Programs in Focus

Afghanistan National Film

Archive: The Rise from the

Ashes, 1986 / 45min / (Digi)

Beta / Color, B2; El Condor

Pasa, Gala Presentation,

2012 / 101min / DCP / Color,

BH; A Special Day, World

Cinema, 2012 / 90min /

DCP / Color, B1

19:30 Just the Wind,

World Cinema, 2012 /

87min / DCP / Color, M7;

Blancanieves, World Cinema,

2011 / 104min / DCP /

B&W, L4

20:00 I.D, A Window on

Asian Cinema, 2012 / 87min

/ DCP / Color, CB; Talgat, A

Window on Asian Cinema,

2012 / 84min / DCP / Color,

M3; Comes a Bright Day,

World Cinema, 2011 /

91min / HDCAM / Color, C6;

Gf*Bf, A Window on Asian

Cinema, 2012 / 105min /

DCP / Color, COMC; Bad

Luck, Poland in Close-up:

The Great Polish Masters

1960 / 107min / 35mm /

B&W, B3; The Sessions,

World Cinema, 2012 /

95min / 35mm / Color, M2;

Tai Chi 0, Open Cinema,

2012 / 95min / DCP / Color,

BT; Something in the

Air, World Cinema, 2011 /

122min / 35mm / Color,

C7; Dust on Our Hearts,

World Cinema, 2012 /

91min / DCP / Color, L3;

Mai Ratima, Korean

Cinema Today-Vision, 2012

/ 123min / DCP / Color,

M1; All Musicians Are

Bastards, Flash Forward,

2012 / 87min / DCP / Color,

L6; Love Me Once Again,

Korean Cinema Retrospective

SHIN Young-kyun, the

Masculine Icon of Korean

Cinema: From Farmhand to

King, 1968 / 93min / 35mm

/ Color, MBT2 THR



Influential Hong Kong

producer-director Tsui

Hark (Flying Swords of

Dragon Gate), in Busan to

premiere his uncharacteristic

rom-com All About

Women, makes a detour

to the Grand Hotel for the

13th festival’s traditional

hand printing ceremony.

Tsui is currently at work

on his next foray into 3D,

Tracks of a Snowy Forest.




PiFan D4 100812.indd 1 10/2/12 10:52 AM

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