11. Height of the Wave (Park Jung-bum, 2019)
“Not one plot, but several intertwine in a complex narrative about different perspectives on morality of not just sexual nature, but also regarding general social values, specifically those of an isolated community that fights for its place in a greater geographical context. Despite of some unsettling images involving harassment and hard-boiled masculinity, there is no finger-pointing, no sides taken, and there is only one truly rotten character in the film (Wonjae), although his personal ambition might in fact not be really disadvantageous for the well-being of the island in the long run. Jung-bum Park is good in keeping the plot superior over judgement, and the result is a unique drama of human abysses and suffering, discrete, intimate, empathetic.” (Marina Richter)
12. Inside Men (Woo Min-ho, 2015)
Their prowess however, is undeniable, as the editing by Kim Sang-beom keeps a great pace. This trait is particularly evident in the scene where An has to face the syndicate's henchmen. Go Nak-seon's cinematography and Lee Min-su's production design are also points of greatness. Providing realistic and occasionally impressive images, both outdoors and in interiors…. “Inside Men” is a true masterpiece, a film that combines style with substance, in the best way possible. (Panos Kotzathanasis)
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13. Memoir of a Murderer (Won Shin-yun, 2017)
Director Won Shin-yun (The Suspect) echoes the mental state of our unreliable guide in the snowy landscapes and dark tunnels that infuse a cold style to his fragmented thriller. Actor Sul Kyung-gu (also featuring in our June Teaser Screening, 1987: When the Day Comes) provides a multi-faceted performance in a film adapted from the novel of celebrated author Kim Young-ha. Memoir of a Murderer debuted in the number one spot at the Korean box-office; its psychological twists and dark thrills promise equal appeal to UK audiences. (LKFF)
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14. Montage (Jung Geung-sub, 2013)
Director Jeong Geun-seop has directed a suspenseful film that tells about the tenacity of a mother who does not want to leave the death of her child unatoned. Intelligently composed and full of unexpected twists, the film leaves the viewer in the dark for a long time, until it finally provides for the protagonist, and in a certain way also for the viewer, the longed-for revenge and justice (Teresa Vena)
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15. Pieta (Kim Ki-duk, 2012)
Kim's most commercial work is, however, as onerous as the rest of his filmography, a fact stressed by the usage of digital camera that makes the violent scenes seem even more realistic, virtually documentary-like. The standard message residing in the majority of Kim's works also appears here: the world we live in is ugly and evil, and people are either monsters or victims.
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16. Scarlet Innocence (Yim Pil-sung, 2014)
“Scarlet Innocence” has slightly further to offer than some admittedly wonderful eye-candy. Featuring two actors in performances that rank amongst their best, it is an enjoyable melodrama that stumbles as it shifts gears halfway through, but manages to reach its destination effectively. Fans of Jung Woo-sung should definitely check this out.” (Rhythm Zaveri)
17. The Chase (Kim Hong-sun, 2017)
An OAP version of the serial killer film might not be the greatest of sales pitch for a film, but Kim Hong-sun's feature scores thanks to a intricately detailed characters, a fairly satisfactory central mystery and two terrific performances from veterans Baek Yoon-sik and Sung Dong-il. If for nothing, watch it for one of the greatest headbutts in the history of cinema! (Rhythm Zaveri)
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18. The Exclusive (Roh Deok, 2015)
Roh Deok directs and pens a film that starts as a comedy of sorts, regarding the way the news media and particularly the reporters and their bosses' function. This comic sense is chiefly attained through Cho Young-wook's music, which is “goofy” enough to make some scenes that are not humorous at all, function in that fashion. The result is somewhat confusing, not to mention out of place. As the story progresses though, the seriousness takes over, as the film becomes an agonizing thriller, including a shocking scene of disclosure. There is also a secondary story regarding Moo-hyuk's wife, Soo-jin and a painter named Kim, which stays in the background for the most part, though, until the end of the film.
19. The Handmaiden (Park Chan-wook, 2016)
“One of Park's biggest traits as a filmmaker is that he manages to combine elements of art-house, mainstream, and exploitation/cult in his movies, additionally succeeding in presenting his messages regarding society and humans through violence, eroticism, and extreme scripts. This trait of his finds its apogee in “The Handmaiden,” a true triumph of both style and substance. Park Chan-wook is one of the greatest filmmakers of our time and this film is a definite proof of the fact.” (Panos Kotzathanasis)
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20. The King (Han Jae-rim, 2017)
“The King” is an excellent piece of cinema. It may suffer from some of the same hubris it paints its characters with when it tries to unfold into an epic, but when scathingly, subtlety critical of Korea's society and ruling classes, Han's fifth directorial effort truly packs a worthwhile punch.” (Nathan Sartain)
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