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The Seoul Independent Film Festival (SIFF), the largest celebration for independent filmmakers in Korea is entering an all new phase. And the driving force behind this is KIM Dong-hyun, the newly appointed Festival Director of SIFF. Joining SIFF in 2006 as Program Coordinator, then serving as General Manager and Vice Festival Director, she gradually worked her way up to become a key figure of SIFF who oversees the general operations of the festival. KIM Dong-hyun, who also was the producer of documentary Jam Docu GANGJEONG (2011), and handled the distribution and marketing of feature films such as Exhausted (2009) and Kissing Cousin (2016), she shares her thoughts on the new changes at SIFF. 

Ten years have passed. CHO Young-kag, the previous Festival Director offered me to work as Program Coordinator at SIFF. At the time, the festival was held in 2 venues at the CGV Yongsan multiplex. In comparison, the festival has impressively grown in the number of films screened as well as venues. Nevertheless, we’ve continued to maintain the same stance in our direction since the festival’s inception. The festival gives you the sense of the largest celebration or a year-end party for independent filmmakers where they can sum up a year’s worth of work. Life is hard to predict. I am still with the festival, and now the successor of the former Festival Director, CHO Young-kag who has passed the torch on to me to head the festival.

15 years doesn’t feel that long. CHO Young-kag was the sturdy rock of the independent film scene with his role as a wonderful veteran responsible from the advent of the Korean independent film scene to its new turning point. He may have worn the hat as Festival Director, but he never shied away from all kinds of menial tasks. On the other hand, this does have its drawbacks. The Korean independent film scene is short of mid-thirties organizers who are actually the center fielders. The same goes for expert critics who take on the role of programmers. I guess such long-term rule may have slowed-down the process of passing down the expertise to a younger generation of professionals. 

In fact the biggest task is to see if SIFF can operate stably. I believe this is absolutely up to me and my staff. What I would like to attempt at is to reinforce other fields apart from the existing system in the independent film scene which revolves around creative talents. This includes organizers like myself or critics, for example. I am interested in including audience members with potential in the field of organizing, critiquing and creating. I have yet to come up with a specific plan for this, but I hope the magazine published by SIFF can act as a bridge between the audience and the independent film scene. 

The independent film scene has undergone enormous change recently. The industrial and public environment surrounding it has gone through transition which has changed the creative talents’ and the audience’s attitude toward independent films as well. The low-budget film industry is rapidly absorbing the expanding scale of independent films. On the other hand, the direction and attitude of SIFF has maintained its stance for the past 15 years. Its steadfast humility is what drove SIFF throughout the years, but it looks like the time has come to shift gears. And it is necessary to make decisions and lay the groundwork to do this. It also seems important for those who have dedicated themselves to the growth of the independent film scene to grab the initiative in the expanding scene at the proper moment. Fortunately the independent film scene continues to display potential. More than 1,000 films are being made each year, while a considerable number of filmmakers are pushing out feature debut works which are constantly infusing energy into the commercial film scene. 

I am definitely interested. For the past few years, SIFF has been producing omnibus shorts, and distributing more than one title per year since 2009. The reason for producing and distributing stems from the idea that by actively utilizing the organizing expertise of the festival, it can contribute to the growth of the independent film scene. 

The average age has clearly gotten younger. I want to give the next generation more opportunities and experiences. There was the unparalleled brand of ‘CHO Young-kag’, and if possible, I hope the younger generation whom I work with, create their own unique brand of expertise. With such young energy, I believe we will be able to reach out to and communicate with creative talents more easily. 

Organizers in the cultural field mostly consist of women. In the case of film festival staff and volunteers, less than 10% are men. However, it is men who are holding key positions. For quite some time there have been demands for a female leader. Primarily, it seems I am being applauded for being a female Festival Director who has brought change to the organization. I cannot specify the exact changes, but I believe people are expecting stronger gender sensitivity in terms of a more detailed manner of execution and the selection process of what is the core of a film festival, the lineup. I am planning to listen to various opinions from filmmakers.