Busan Film Festival to open with Iran’s ‘Scent of Wind’, close with Kei Ishikawa’s ‘A Man’ – The Hollywood Reporter

27e edition of the Busan International Film Festival will open with scent of wind by Iranian director Hadi Mohaghegh and closing with A man by Japanese Kei Ishikawa.

Launched in 1996, Busan has long been considered Asia’s premier film festival, famous both for launching the careers of exciting new Korean and Asian authors, as well as for its seaside party atmosphere, with Tented restaurants serving soju and Korean seafood specialties until the early hours.

This year, Busan festival director Heo Moon-young has promised an edition that represents “full recovery” from the pandemic, reinstating various programs and forums that have been interrupted over the past two years due to the coronavirus measures. seoul government social distancing. In 2022, the festival will screen 354 films from 71 countries, with various satellite events taking place across the city.

scent of wind is Mohaghegh’s fourth film, whose feature Immortal was invited to the New Currents program in Busan in 2015.

“It’s a film that fits the creative direction of Busan,” Heo explained. “We often think of the aesthetics of Asian cinema and find names like Abbas Kiarostami and Hou Hsiao Hsien. I think Mohaghegh’s film captures the way Asian film aesthetics are expressed in the 21st century – with the depth of his camera work. It conveys the values ​​we love about Asian cinema. They portray the lives of the unfortunate and do so without exploiting or exaggerating them, but rather conveying a sense of comfort and togetherness.

from Ishikawa A man is a mystery drama starring Japanese star Satoshi Tsumabuki. The film, which recently received warm reviews in Venice, delves into the story of a Korean-Japanese lawyer facing questions about his identity as he investigates a mysterious case involving the deceased husband of a client.

This year’s Busan lineup includes several films by cinematic masters. by Alain Guiraudie nobody’s hero and Scarlet by Pietro Marcello, the two opening films of this year’s Berlin and Cannes Film Festivals, will be screened in the Gala Presentation section, which features local premieres by renowned international directors.

New Currents, the main competitive section of the festival, will unveil a selection of 10 films with a jury led by film critic Serge Toubiana. Icons, a program dedicated to new films from renowned directors around the world, including the United States and Europe, will screen films from many household names, including the latest melodrama from French director Claire Denis Both sides of the blade, The dark comedy by American director Noah Baumbach White noise and Broker from Japanese Kore-eda Hirokazu, an unconventional family drama starring Korean actor Song Kang-ho, which won Best Actor at Cannes this year.

Jiseok, a new competition section named after the late festival programmer Kim Jiseok, will feature selected works by emerging Asian filmmakers, including Iranian Ali Ghavitan (life & life), Thai ML Bhandevanov Devakula (six characters) and the Indian Ananth Narayan Mahadevan (The narrator).

In addition, A Window on Asian Cinema, which highlights the latest works of Asian directors, presents nine world premieres, including Hong Kong family by Eric Tsang Hing Weng and The wind will say by Wei Renal Yongyao.

This year’s Busan Festival also features a lineup of culturally and politically significant films. Nakdong River (1952), Korea’s earliest surviving film that depicts the Korean War for the first time, was recently discovered and digitally remastered. It will be screened in Busan for the first time. Blind willows, sleeping womana film by Mantas Kvedaravicius, a Lithuanian director known for his documentary films shot in hostile areas and who was killed by the Russian army during filming, was also invited. A special section titled, Discovering New Japanese Cinema, explores the new potential of contemporary Japanese films – once banned in Korea due to historical tensions stemming from Japan’s colonial rule – focusing on young Japanese directors making their debut after 2010.

A wave of cross-border projects will be screened by international directors, featuring Korean actors or produced in Korea.

Return to Seouldirected by French-Cambodian director Davy Chou, depicts the journey of a 22-year-old young woman who visits her homeland after being adopted by a French couple. Ajoomma, the story of a middle-aged widow who travels out of the country for the first time to Seoul, is directed by a new Singaporean director, He Shuming. rice boy by Vancouver-based Korean-Canadian actor and director Anthony Shim delves into the experience of an immigrant by telling the story of a single mother raising a son in suburban Canada.

The festival also selected Hong Kong veteran actor Tony Leung as the recipient of this year’s Asian Film Person of the Year award, which is given to industry veterans who have made a significant contribution to the world of Asian cinema. . To celebrate his achievement, Busan will also host a special screening of Leung’s major films, such as In the Mood of love, happy together and 2046, all of which were selected by the actor himself.

Market-wise, this year’s Asia Film Content Market will be the first face-to-face edition of the event in three years. Market events, parties and ceremonies will resume normal operation, and foreign guests will be invited in person to participate in presentations and meetings.

As a highlight of the market, the AFCM will launch an ambitious new program called Story Market, which has integrated the functions of the previous E-IP Market (Entertainment Intellectual Property Market), inviting content creators from all platforms, including books, games and comics. . The Asian Cinema Fund, which has been suspended for the past two years, is set to resume and support 13 films with funding programs such as the Script Development Fund, the Post-Production Fund and the Asian Network of Documentary Fund.

The Asian Project Market, a co-production activity and flagship program of the market, which presents promising feature film projects, will present this year 29 selections of Asian directors.

“Every content starts with a story,” says Oh Seok-geun, director of AFCM. “For 10 years, through the E-IP market, we have created a platform where content owners participate and exchange a wide range of IP ranges. We will continue to introduce quality Asian content through these strategic collaborations with various film agencies in Asia.

Kimberly B. Nguyen