In a year that is not exactly shaping to be great for Korean cinema, BIFAN programmers still managed to come up with an appealing local selection, headed by a couple of curios and most of all, animation, which seems to be progressing quite impactfully. Apart from local productions, the ASEAN movie industry cemented its progress, headed by productions that aim at both local audiences and streaming platforms, while the Japanese selection highlights that the movies of the country are slowly getting at the top of Asian cinema once more (not that they were ever too far behind.) Also of note was the inclusion of AI films, which although are impressive as a novelty, still have a way to go in terms of actual filmic quality.
Regarding some of the highlights of this year edition, which also cement the aforementioned, “Pig That Survived Foot-and-Mouth Disease“, “Base Station“, “Tatsumi” and “Indera” were the ones that mostly stood out.
Without further ado, here is our full coverage of the Bucheon International Fantastic Film Festival
1. Animation Review: Pig That Survived Foot-and-Mouth Disease (2024) by Hur Bum-wook
Hur Bum-wook directs a rather bleak film, where hope is nowhere to be found, as the situation for all the protagonists just keeps getting worse and worse, despite some brief moments of piece they experience. The fact that the humans are the real animals permeates the narrative, to the point that even when the boars become violent, they only do so after being pushed to a corner by their tormentors. The fact that the boars want to be humans too, as they perceive this transformation as their only way to survive adds to this comment. At the same time, it also adds to the drama here, as even when the miracle actually happens, more tragedy ensues, in the rather catastrophic as much as audiovisually impressive finale. (Panos Kotzathanasis)
2. Film Review: Stolen Identity: The Last Hacker (2024) by Hideo Nakata
Treatment-wise, there is a great similarity with the first two “Stolen Identity” movies. Director Hideo Nakata handled the narrative as straight-forward as possible as it was in the former installments. Its transnational angle, however, adds a different flavor to the franchise. Nakata was able to capture a different boldness within the meshing fluorescent and neon soaked lonely streets of Incheon that elevates the character of the movie differently from the scenes set in Japan, adding a somber grit to its tone. (Epoy Deyto)
3. Animation Review: Pigsy (2023) Chiu Li Wei
The concept of a higher authority choosing who gets to go to the New World and who stays in the Old World, according to their contributions to society, seems like a direct jab towards the Chinese system, in a comment that actually permeates the movie. Another subtle aspect, exemplified through Pigsy‘s grandmother and her mentality, is the notion that staying in familiar places is not so bad, even though many consider them old and preterit. This conservative view seems to convey a hidden meaning that I am not entirely certain of. (Panos Kotzathanasis)
4. Film Review: Possession: Kerasukan (2024) by Razka Robby Ertanto
Razka Robby Ertanto has come up with a rather ambitious project, trying to combine a number of different elements in a single narrative, in an effort that sometimes works, sometimes it does not. For example, the stylish noir approach that permeates the movie, as exhibited by the low-lighted, foggy cinematography by Yunus Paolang, works particularly well, especially within the apartments, the bars and the theaters the story takes place in. (Panos Kotzathanasis)
5. Interviews: Razka Robby Ertanto
6. Film Review: Killers Never Old (2023) by Hsia Jui-chien
Hsia Jui-chien directs a film based on his own script, which brings attention to the transition to retirement which can lead many professionals to feel useless or undervalued; a sense of uselessness that often stems from the sudden loss of a structured daily routine and the professional identity they once held. In doing so, he wants to utilise a strikingly contrasting media, in this case an action comedy with some dark/gory bits, to inject the concept with a new dynamic blood. It is a constructive idea, based on the juxtaposition of two contrasting concepts – retired, ageing people and a profession that is associated with physical prowess – so that the differences between them are emphasized and comedy situations are generated. Despite not being entirely fresh and original, the idea could work. (Adriana Rosati)
7. Film Review: Jinju’s Pearl (2024) by Kim Lok-kyoung
“Jinju’s Pearl” is a pleasant film about the necessary efforts to preserve these establishments and the retention of cultural heritage, but the dramatic glue that holds it together is slightly thin and it can struggle to catch the heart of the audiences. (Adriana Rosati)
8. Film Review: Paradise (2024) by Son Seung-un
“Paradise” emerges as film that shows that Son has some interesting ideas, but his command of the medium is not yet to a level that he can adequately present them on screen. (Panos Kotzathanasis)
9. Film Review: Pull Up (2023) by Mok Chung Hun
Mok Chung Hun directs a 1-hour film about a rather appealing friendship in the time of Covid, in an effort to make a number of social comments. These do revolve around people’s mentality during the era, relationships and friendships, finding one’s self and growing, and the impact of Covid on a professional level. Seok-ju’s demeanor somewhat implies that perhaps she sees Maeng-ji as something more, but the director never allows his narrative to move in that path. (Panos Kotzathanasis)
10. Film Review: A Long Shot (2023) by Gao Peng
“A Long Shot” is a blend of drama and thriller. Director Gao Peng creates a tense story about a man trying to win back some kind of dignity and self-respect, which is very well-acted and -shot, even though the feature could have used a little trimming here and there.(Rouven Linnarz)
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