Forgot password

The 18th edition of Jeonju International Film Festival (JIFF) is attempting at an even more interesting variety of things. New sections have been added, market project is strengthened, and feast is more lively. KIM Young-jin, the Executive Programmer, tells us about the JIFF this year, geared with the longest screening list ever (of 2,229 films from 58 countries), and ready to open on April 27th for 10 days. 

I have always been dreaming of a proper outdoor screening facility. In the past the outdoor screening at JIFF was just not good enough, due to small size and unsatisfactory facility generating complaints from the directors. It reopened in 2015 equipped with 3,000 seats, but the response was not so good because it was too cold. So this year we have built a dome with tent so we can respond accordingly to the change in weather.  

Whereas the general audience says JIFF films are too hard to understand, cinephils find them too popular. Currently, we have more JIFF-like films at Expanded Cinema and Cinematology, and more popular films are shown at Cinefest and World Cinemascope. Frontline would be an attempt to strengthen our own identity. 

It seems Jeonju Cinema Fund will make a great synergy with Jeonju Project Market (JPM). 

I have always had resentment for JPM. From the cty fund of USD 89,000, only 3-4 films benefit and some of the fund goes to hosting events. So JIFF staff established Jeonju Cinema Fund, chipping in everybody’s 2 cents. Actor SO Ji-sub (Rough Cut, 2008) has also agreed to fund USD 44,000 every year for several years. 

You criticized Korean feature length independent films as being “junior commercialism” during the press conference.  

I have a great resentment for the recent mainstream Korean cinema. Since PARK Chan-wook, BONG Joon-ho and RYOO Seung-wan, who else is there to make films in their own style? In such circumstances, independent cinema should be an alternative solution. It should generate new energy, should be independent of capital, but that is not actually happening. Social agendas are lost, just full of basic anger, or commercial theme made with low budget. That is how I have felt from the so called independent films these days. 

I believe that independent films should have the kind of personas that the mainstream cinema would never cast. Korean independent cinema still has those personas no matter how well or badly the film itself is made. Those alienated, in the shadow, never receive attention. It is very hopeful that they do cast this kind of characters. And you do meet some interesting works among Korean independent short films. If this kind of human resources is led to feature films, then the whole film industry may change.  

We are very much prolific with great documentaries this year. There are some good ones even among those not selected. They are just private stories, but still reflect the core of social issues in them. They are very much modern than in the past, in the sense that their growing up is described through individual filters, in everyday life. 

Screening at the film festival is just not enough. You have to create audience accordingly. Cannes will be Cannes because of the audience. Cineastes want to go to Cannes because French audience watch art films. That is why JIFF is active at production and distribution, to promote our brand. It all began when we imported and released Attila Marcel in 2014, making a big success by attracting as many as 140,000 viewers. The opening film this year, On Body and Soul, is also our import. Open at Night by Edouard Baer, who is also the show host of the opening ceremony, is also in the JIFF import line up. We aim to create a sustainable system with the films developed and produced by JPM and Jeonju Cinema Project (JCP), too. Project N, a Korean documentary which is among the JCP selection this year, is also expected to make profit through theater release.