Any healthy film industry needs to have ways in which it can train the next generation of filmmakers and provide platforms to screen their films. By the end of the 2010s Korea's film industry had grown into one of the leading industries in not only Asia but its wider content industry was fast turning into one of the most vibrant sectors in the world.

Korea's film education sector that includes specialized programs at film schools like the one at the Korean Academy of Film Arts (KAFA) together with undergraduate degrees at universities across the country remain an important component in Korea's successful content industry. Without festivals, however, it would be difficult for filmmakers to be discovered. Internationally, many programmers and critics turn to the Busan International Film Festival, Jeonju International Film Festival and Bucheon International Fantastic Film Festival (BIFAN). But locally, one film festival stands out for the discovery of new talent: Mise-en-scène Short Film Festival (MSFF).

It was founded in 2002 by director Lee Hyun-seung as a genre short film festival and the event quickly attracted leading figures from the film industry including Park Chan-wook, Ryoo Seung-wan and Kim Sung-soo. The festival's program was divided based on the characteristics of certain genres thereby differentiating it from other short film festivals in Korea at the time. While its name does indeed refer to the term frequently used by French writers like André Bazin in the 1950s, the festival's name derives from a hair brand launched by its then main sponsor and cosmetic giant Amorepacific.

The Chaser (2008)

In the 2000s, it screened shorts from a new generation of directors that would become established names by the end of the 2000s and 2010s. Lee Kyoung-mi ( Crush and Blush (2008)) won Best Film in a Short Film About Love in 2004 for her short Feel Good Story (2004), Yoon Jong-bin ( The Spy Gone North (2018)) received the Best Film in the King of Comedy for his short film Identification of a Man (2004) and Na Hong-jin won the Extreme Nightmare Best Film Award for one of his earlier films A Perfect Red Snapper Dish (2005). Na would go on to be one of the few directors not part of the 386 generation to break out internationally. His films The Chaser (2008), The Yellow Sea (2010), The Wailing (2016) and Hope (2026) would all be invited to the Cannes Film Festival.

The Wailing (2016)

Another director to successfully make a name for himself as a leading genre filmmaker was Jang Jae-hyun with hits The Priests (2015), Svaha: The Sixth Finger (2019) and Exhuma (2024). His first short 12th Assistant Deacon (2014) won Best Film in The Extreme Nightmare section. Other filmmakers to win awards at the festival in their early careers include Jo Sung-hee, Lee Kwon, Park Jung-bum, Huh Jung and Hong Seok-jae.

The Priests (2015)

A Revamped Festival with New Sponsors

In 2021, during the middle of the pandemic, the festival's organizing committee announced that its 20th edition would be its last. This came as festivals struggled to put together editions given the restrictions on social distancing but ultimately it was down to funding as the festival's main sponsor Amorepacific had to pull out.

In 2025, the festival returned with new sponsors: Naver, Orion and Megabox. It was organized by Korea's weekly film magazine Cine21 and took place at the CGV's flagship cinema in the I'Park Mall in Yongsan, Seoul and Naver's 1784 building in October. But it retained its connection to the local industry with the organizing committee consisting of established directors: Uhm Tae-hwa, Yoon Ga-eun, Lee Sang-geun, Lee Ok-seop, Jang Jae-hyun, Jo Sung-hee and Han Jun-hee. The festival was hosted by the organization New Directors headed by Jang Jae-hyun that was set up in January 2025 with a vision to discover and support new directors that will lead the Korean Film Industry.

Keeping with its unique character it classified each section by genre using a name of an iconic Korean film to name each section: Take Care of My Cat (films that highlight social issues permeating the present), Jealousy is My Middle Name (films that tackle the complexities of relationships), Conduct Zero (films that offer a new perspective on humanity and society through humor), Epitaph (Horror and fantasy short films that traverse the boundaries between what is real and what is not), and Nowhere to Hide (Action and thriller shorts driven by tension and speed).

Last year, Nam Sohyeon's Those Who Leave Buy Flowers won the Best Film in the Take Care of My Cat Section. Fake Lies by Hwang Jin-seong took home the top prize in Jealousy is My Middle Name while Kim Suh-yeon's The Mountain Between Us secured the leading prize in Conduct Zero and other prizes included Lee Se-hyung's Planet Spoiler that took the top accolade in Epitaph.

2026 Lineup

This year, the festival adopts a similar lineup with the competitive programs remaining unchanged with ten films competing in each of the Take Care of My Cat and Jealousy is My Middle Name sections. There are eight films screening in each of the remaining sections. Shorts include Yang Do-hye's To You (2026) that was produced at the Korean Academy of Film Arts and is screening in the Take Care of My Cat section. A KAFA animation has also been invited with Jang Ji-ho's animated short HALFway (2026) premiering in the Epitaph section. This year's jury consists of directors and stars with filmmaker Lee Byeong-heon chairing the jury while actors include Jo Jung-suk, Jung Hae-in and Choi Soo-young.

The festival moves back to its June date having begun on June 18th and will conclude on June 23rd and has returned to the CGV multiplex in Yongsan, Seoul. The main sponsor this year is Netflix while Naver is teaming up as a media partner. It's hosted by New Directors and Cine21 is once again organizing the event under the theme of What's Next? continuing last year's slogan.

Talks at this year's edition include one titled "What's Next?" featuring a panel of executives from the industry and directors looking at emerging creators. Many of the screenings are either completely sold out or just have a handful of tickets left reflecting not just the interest in this year's festival but it echoes a wider trend in GVs (guest visits) and film festival screenings selling out very quickly as young people return to the cinemas.

Written by Jason Bechervaise
Edited by kofic