THR Busan Day Two Daily The Hollywood Reporter

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THR Busan Day Two Daily The Hollywood Reporter Powered By Docstoc
                                                       DA I LY        OCTOBER

                                                                       6, 2012


    Review:                                                           From left: Cecilia Cheung,
                                                                            Jang Dong-gun and
    Cold War p.1                                                          Zhang Ziyi attend the
                                                                      BIFF press conference for
                                                                           Dangerous Liaisons.

        Executive Suite:
        Tom Yoda p.4

                              Busan Rolls Out
                              the Red Carpet
                              The city is buzzing as BIFF’s first full day offers
                                world premieres, international star power
                                 and Asia’s most celebrated filmmakers
                       CJ ENTERTAINMENT
                    ASIAN FILM MARKET 2012
                           BEXCO H01
                      MARKET SCREENINGS
                                        AY                              AY                                       OR   ROW
                             IN G T O D                      IN G T O D                               IN G T O M
                 SCREEN                             SCREEN                                  SCREEN

                                                                          OPEN CINEMA                                  KOREAN CINEMA
                                                                                                                       TODAY -

               Sexy romantic comedy          From the director of END OF ANIMAL         Based on the Naoki Prize awarded novel
                starring KIM A-joong             Invited to Toronto IFF 2012,               THE DEVOTION OF SUSPECT X
             from 200 POUNDS BEAUTY             Contemporary World Cinema                         by Higashino Keigo
       OCT 9 / 15:00 / LOTTE CHARLOTTE       OCT 9 / 17:30 / LOTTE CINEMA 10             OCT 10 / 15:30 / LOTTE CINEMA 10

CJ Entertainment D2 100612.indd 1                                                                                      10/2/12 10:58 AM
OCTOBER 6, 2012

    BUSAN        Ben Affleck scores another           National Security’s look at       T h e W i n t e r o f t h e Ye a r  SEE THR.COM/BUSAN                       BUSAN
   REVIEWS        strong outing with Argo            torture tests the boundaries     Wa s Wa r m m i s s e s t h e m a r k F O R F U L L C OV E R A G E

   Satoru Iseki
  Slams Diaoyu                               The Korean Wave Goes Global
  Islands Crisis                             From Psy’s Gangnam Style to the recent blockbuster The Thieves, Korean
                                             popular culture is everywhere. But can it last? By Clarence Tsui and Karen Chu

 V                                          W
  By Karen Chu
         ETERAN JAPANESE                               ITH THE RISE OF              export of their works.                      and became the most-watched
           producer Satoru                             pop star Psy and his            Among the movies in position             domestic film in Korea.
           Iseki has condemned                         U.K. and U.S. chart-         to capitalize on Psy-mania is The              “The fact that The Thieves
  “nasty politicians in Japan”              topping Gangnam Style, Korean           Thieves, which will open in the             did very well at the box office in
  for enflaming the territorial             popular culture is again on the         U.S. and Canada on Oct 12, with             Korea and received good reviews
  dispute over Diaoyu Islands, a            cusp of an international break-         its producers hoping to repeat              overseas helped us close deals
  handful of small, uninhabited             through — and the country’s             the box-office success the film             in Toronto for foreign markets,”
  landmasses between China                  filmmakers are now hoping for           attained at home, where it gen-             says Sonya Kim, international
  and Japan.                                a similar westward shift in the         erated $13 million in ticket sales                           C O N T I N U E D O N PA G E 3
     In an interview with The
  Hollywood Reporter, the
  producer of BIFF entry and                                                                                                                                      REVIEW
  Genghis Khan biopic An End
  to Killing said he is troubled
  by Sino-Japanese tensions
  because he has a long history
  of working with the Chinese
  film industry. “This situa-
  tion happened because of
  the provocation of nasty
  politicians in Japan,” he
  said. “The average people in
  Japan don’t care.”
     The current row between
  the two countries prevented
  Iseki from seeing a final
  cut of the film in Beijing.
  According to Iseki, the film’s
  Chinese director, Wang Ping,               Aaron Kwok stars as
                                             a by-the-book Hong
  kindly suggested to him that               Kong cop on the trail
  it would be unadvisable for                of kidnappers.
  the Japanese producer to

                                                         Cold War
  travel to China while tensions                                                                         paced chases, explosions and shoot-outs is a
  remain high.                                                                                           commentary on Hong Kong’s status, laws and
     An End to Killing, a drama                                                                          changing identity 15 years after the oft-mentioned
  repped internationally by                  Fast paced yet overly-complicated,                          handover to China. Though the political metaphor
  Fortissimo Films, is about a                 this Hong Kong police actioner                            is potentially controversial for Chinese ortho-
  Shandong priest’s journey                   raises some interesting political                          doxy, it’s a winning combination that should get
  to convert the Mongolian                        questions By Deborah Young                             both the critics and mainstream Asian audiences

  warrior-emperor to the Taoist                                                                          behind the film, and a particularly savvy choice to
  faith’s belief in nonviolence.                       HEN THE MAIN COP SAYS “COLD WAR                   open the Busan International Film Festival.
  It’s also an amalgam of                              is a terrible title for this operation,” one         The style is pure quicksilver procedural, with
  production efforts between                           can’t help feeling first-time writer-             much undigested plot thrown at the viewer at the
  China, Japan and Korea, with              directors Longman Leung and Sunny Luk are                    speed of a don’t-look-back videogame. The main
  Chinese financial backing.                winking at the audience in this bold actioner with           players are two deputy HK police commissioners:
     Produced by Iseki — whose              piquant political undertones.                                dapper hotshot Sean Lau (Aaron Kwok of
            C O N T I N U E D O N PAG E 3      Hidden, and not too subtly, amid the excitingly                                                   C O N T I N U E D O N PA G E 5


 Jurors Applaud Next Generation
   BIFF’s New Currents                                                                                             to see each other’s works and be
    and Flash Forward                                                                                              inspired,” he said.
   sections offer young                                                                                               Tarr is joined on the New
  filmmakers exposure,                                                                                             Currents jury by the writers
                                                                                                                   Jean-Marie Gustave Le Clézio
  feedback — and cash                                                                                              and David Gilmour, Japanese
        By Clarence Tsui

                                                                                                                   director Naomi Kawase and
       OUNG FILMMAKERS                                                                                             Korean actor Jung Woo-sung.
        should be judged by their                                                                                     The ten entries in the section
        freshness and their abil-                                                                                  are: 111 Girls (Iraq), 36 (Thai-
 ity to stir emotions, according                                                                                   land), Apparition (the Philip-
 to the jury presidents of the                                                                                     pines), Fatal, Your Time is Up
 Busan International Film Festi-                                                                                   (both South Korea), Filmistaan
 val’s two competitive strands.                                                                                    (India), Kayan (Lebanon/
    “I believe in the new genera-                                                                                  Canada), Together, Touch of the
 tion — they will be stronger                                                                                      Light (both Taiwan) and The
                                        From left: New Currents and Flash Forward jury members Sergei Loznitsa,
 and more radical than me,                 Byun Young-joo, Arturo Ripstein, Haden Guest and Cameron Bailey.        Town of Whales (Japan).
 they’ll clean up everything,”                                                                                        Meanwhile, Ripstein shares
 said Bela Tarr. The Hungar-             Tarr, known for austere, slow-       good no matter where they come       Flash Forward jury duties
 ian cineaste was speaking at a       moving films filled with long           from, but in the end their funda-    with Bailey, South Korean
 press conference introducing         takes and gritty characters, said       mental quality is in the emotions    director Byun Young-joo, U.S.
 the panel for New Currents,          he is “very open” about the films       they evoke.”                         film archive director Haden
 the section dedicated to films       he is about to see. “I’m waiting           Toronto Film Festival             Guest and Belarussian director
 by new Asian directors.              to be touched,” he said.                co-director Cameron Bailey,          Sergei Loznitsa.
    “That’s why I agreed to come         Arturo Ripstein, the Mexican         who sits on the Flash Forward           Films competing in the
 here [to Busan], because I still     director who chairs the jury for        panel, praised the Busan             section include All Musicians
 believe in young people,” added      Flash Forward — the sidebar             festival’s competitive sections      Are Bastards (Estonia), Annelie
 the auteur, who announced his        for first and second films from         for offering concrete help to        (Germany/Switzerland), The
 retirement last year after mak-      non-Asian filmmakers — said in          new filmmakers in the shape of       Crack (Colombia/Argentina),
 ing the acclaimed The Turin          a separate press conference that        a prize of $30,000 each for the      Flower Buds (Czech Republic),
 Horse. He will now serve as          effective cinema can come from          winning entries.                     Für Elise (Germany), The Scar
 director and dean of a new film      anywhere as long as it can make            “Beyond cash, it offers a plat-   (Canada), State of Emergency
 academy in Sarajevo, Bosnia.         an emotional impact. “Films are         form for an exchange of ideas,       (Russia) and Steel (Italy). THR

               5 Korean Directors Not to Miss at BIFF
 By Elizabeth Kerr                                              BYUN YOUNG-JOO                        filmmaker’s ability to stir up controversy.
       INCE THE BIRTH OF THE MODERN                             Byun Young-joo burst onto             Known best for his Town Trilogy, Jeon has
       blockbuster in Korea — arguably the                      the scene in the mid-’90s on          a knack for portraying the disillusionment
       1-2-3 punch of Kang Je-kyu’s Shiri                       the strength of her docu-             lingering within contemporary Korean
 (1999), Park Chan-wook’s JSA (2000) and           mentary series dealing with the legacy             society (such as the plight of North
 Kwak Kyung-taek’s Friend (2001) — the             of Korea’s World War II comfort women.             Korean refugees in Dance Town) as well as
 industry has taken a decidedly muscular           Byun is the founder of the feminist film-          dealing with human sexuality in a natural-
 turn. A slew of war epics and revenge thrillers   makers’ collective Bariteo and is one of           istic and non-sensationalized way (From
 (honed to a fine art in Korea) have dominated     the few women active in the industry at            Seoul to Varanasi). His latest, The Weight,
 the box office as well as the boardroom,          her level. The kind of female urgency she          takes a similar route in another film about
 edging out weepy melodramas and slapstick         injected into 2002’s Ardor (starring Lost’s        the marginalized and displaced.
 comedies ever so slightly for the hearts and      Kim Yun-jin) and this year’s Helpless is
 minds of viewers. Kang, Park and Kwak have        overdue in a cinema frequently dependent                       KIMJHO GWANG-SOO
 become household names, but with those            on women’s victimization while lacking a                       In the way Byun brings a
                                                                                                                                                       CHUNG SUNG-JUN/GETTY IMAGES

 four genres at a saturation point, there’s        critical perspective on it.                                    much-needed feminine
 room for some fresh voices. BIFF is offering                                                                     perspective to the Korean
 a wealth of new talent in its edgier sidebars                  JEON KYU-HWAN                         mainstream, KimJho Gwang-soo appears
 such as the Panorama and New Currents                          Is Jeon Kyu-hwan the next             on the verge of becoming a voice for the
 sections. Here’s a look at seven new directors                 Kim Ki-duk? Possibly, if              LGBT community. Making his name as
 to keep an eye on.                                             the only criteria was the             a producer and short filmmaker until

Iseki                                                                                                           Directors
CONTINUED FROM 1                                                                                                C O N T I N U E D F RO M 2

credits include Howards End                                                                                     now, KimJho makes his
and The Crying Game — and                                                                                       feature debut at BIFF with
Korean producer Jooick Lee,                                                                                     Two Weddings and Funeral,
the film premiered Oct. 5 in                                                                                    which separates itself from
the Windows on Asian Cin-                                                                                       the typically tragic gay and
ema sidebar at BIFF.                                                                                            lesbian dramas that have
   Shot in Gansu province and                                                                                   defined queer cinema in
Inner Mongolia with a largely                                                                                   Korea to this point. In mak-
Chinese crew, the content                                                                                       ing a comedy where no one
of the film and the culture it     Texas-based Well                                                             is punished for their sexual-
                                   Go USA will release
reflects is Chinese, but the       The Thieves in the                                                           ity (think Almodovar), Kim-
film’s tri-national background     U.S. on Oct. 12.                                                             Jho could be a harbinger for
is evident in the music and                                                                                     changing attitudes in
visuals. Producer Iseki
brought in longtime collabora-    Korean Wave                              to create even more awareness
                                                                           and generate more fans today.”
                                                                                                                local cinema.

                                  CONTINUED FROM 1
tor and composer Kenji Kawai                                                  Pfardrescher admitted                          PANG EUN-JIN
(Ghost in the Shell), while the   business general manager of              however that theatrical releases                  Like Byun, Pang
film’s post-production and        Showbox, the film’s distributor.         of her Korean catalogue mostly                    Eun-jin is one of
visual effects were done by the      Kim added that the buzz at            serves as a precursor to sales in                 a tiny handful of
Korean MOFAC Studio.              home also led to inquiries from          DVDs and online streaming.           women working behind the
   The film’s collaborative       abroad. “We have to see the                 Korean producers’ aspirations     camera. Best known as an
approach to production has        reaction at the American Film            of an American crossover stem        actress in indie films
been seen as an increasingly      Market and at festivals around           from a need to diversify beyond      such as 301 302, Address
beneficial business model         Europe,” she said.                       Asian markets which have             Unknown and Road Movie,
for Chinese production               In recent years, films by             outgrown their fascination with      Pang made her feature
companies, whereby Chinese        festival darlings Bong Joon-             the Korean Wave. For instance        directing debut in 2005
financial backing is com-         ho and Park Chan-wook have               Japan’s interest in Korean films     with the polished, big
bined with the expertise of       secured a foothold in Europe             has waned, with no remarkable        budget Princess Aurora.
other Asian producers. Said       with their take on genre conven-         breakthroughs in recent years.       Imperfect as it was, the
Lee: “If each country can         tions, albeit as niche products             In Hong Kong, meanwhile,          Hitchcockian Aurora proved
contribute one component to       branded “extreme cinema.”                the three-week gross for The         Pang had an eye for sus-
complete a film, the coopera-        The U.S. release on March 1           Thieves was only HK$2.7 mil-         pense, which she puts to use
tion will bring more synergy,     next year of Park’s first Holly-         lion, despite a comparatively        again in this year’s Perfect
and create more active players    wood foray, the Nicole Kidman-           wide release (it opened on           Number, based on the best-
all around.”                      starrer Stoker, might lift Korean        30 screens) and a full-scale         selling Japanese thrillers by
   But the recent dispute         cinema’s profile, but for the time       publicity blitz featuring an         Higashino Keigo.
over the Diaoyu Islands,          being the North American mar-            appearance in Hong Kong by
which has seen industry           ket has been comparatively slow          star Gianna Jun, still one of                      YOO JI-TAE
figures from each nation          in the uptake, according to Kim.         the most well-known Korean                         Actor-director
chime in with nationalistic          Nearly alone in its pursuit           actresses in the city.                             Yoo Ji-tae
umbrage, has left many            of the U.S. market at present               So can the Korean Wave                          morphed from
insiders wondering whether        is Texas-based Well Go USA               make an impact beyond the            teen heartthrob (One Fine
China-Japan film relation-        Entertainment, which secured             Asian market?                        Spring Day) into respected
ships will suffer.                the North American distribution             “It’s too early to predict,”      character actor on the heels
   Said Iseki: “Asian films,      rights for both The Thieves and          said Kim Yun-jeong, director of      of his performances in
unlike Hollywood, have a          Hur Jin-ho’s Korean-Chinese              international sales at Finecut,      Oldboy and Woman is
cultural background specific      collaboration Dangerous                  a Seoul-based sales company.         the Future of Man. After
to each country, which can-       Liaisons. The company also dis-          “Often the audiences reac-           a series of shorts, Yoo is posi-
not be blended artificially.      tributed The Front Line, South           tion comes first and then the        tioning himself as Korea’s
We can make co-productions,       Korea’s entry to the Foreign-            industry reacts. It’s also hard to   answer to Ben Affleck. His
but the film has to be under      Language Oscar race last year,           say how this trend will impact       feature debut, Mai Ratima,
one culture.” THR                 and the war film My Way.                 the overall film industry. But       navigates the same thematic
                                     “Good South Korean films are          who knows? Before Apichat-           waters as his shorts and

  THR .com                        very well-received here in North
                                  America — today as well as in
                                                                           pong Weerasethakul won the
                                                                           Palme d’Or at Cannes, not many
                                                                                                                is in line with his recent
                                                                                                                acting choices, hinting at a
   To download a PDF of the       the past,” said Well Go’s presi-         Korean audiences even knew           maturing artist willing to
   The Hollywood Reporter’s       dent Doris Pfardrescher. “With           that Thai film had existed.”         delve into challenging social
   Busan Film Festival Daily,
    go          the help of the internet and             — Soomee Park contributed to         complexities not often seen
                                  social media, we have been able          this report.                         on Korean screens. THR

                                                                                                         and these days we have to look at DVD, VOD,
                                                                                                         social games and many other businesses. So if
                                                                                                         we only have access to a few screens, we have
                                                                                                         other outlets and channels. There are many
                                                                                                         fish in Japan.

                                                                                                         How do you see the state of the film industry in
                                                                                                         Japan and what is Gaga’s place in it?
                                                                                                         We’re doing OK but audience numbers over-
                                                                                                         all dropped a lot last year and haven’t fully
                                                                                                         recovered yet. This is a small business and
                                                                                                         one of the problems is that Toho is number
                                                                                                         one and the only one. This is an infrastruc-
                                                                                                         ture business and we need access to screens
                                                                                                         to have a constant audience. Domestic films
                                                                                                         are mainly based on cartoons and manga; to
                                                                                                         get real films shown is a challenge. There is
                                                                                                         a lack of an audience base in their twenties.
                                                                                                         In Korea, more than 50 percent of filmgo-
                                                                                                         ers are in their twenties, but in Japan, it’s
                                                                                                         people in their 40s, 50s, 60s and 70s.

 Tatsumi “Tom” Yoda
                                                                                                         Are there particular qualities that make some-
                                                                                                         thing a ‘Gaga film’?
                                                                                                         We have a particular brand image with both
                                                                                                         exhibitors and audiences, so people notice
                                                                                                         that high-quality Japanese films are from
            The veteran exec discusses his ambitions at Busan,                                           Gaga. That brand awareness is very impor-
             his big bet on social gaming and why his business                                           tant. In the last couple of years with films
               strategy is like making fish soup By Gavin J. Blair                                       such as Oceans and The Three Musketeers

                                                                                                         we achieved the highest national box office
       ATSUMI “TOM” YODA, HAS BEEN                  is that progressing? Are there plans for other       worldwide, not the U.S. [The Three Musketeers
        running Gaga since he took over             new ventures?                                        took $24 million in Japan, compared to $20
        the independent distributor and             I’ve always tried to be innovative and aggres-       million in the US.]
 producer with his business partner in 2009,        sive in looking for new trends. For example,
 having served on the board before that.            in the music business, I was one of the first        You said last year that you might finally be able
 Gaga has been on a roll since, even as many        people to invest in Internet businesses back in      to take a salary out of Gaga after all the money
 of Japan’s smaller independents have gone          1996 at Avex [then a major Japanese record           you’ve invested. Did you manage to celebrate
 to the wall in the same period. Yoda spoke         label]. It’s the same for this business. We          Gaga’s 25th anniversary by drawing a salary?
 to The Hollywood Reporter about staying            have to always be looking at new areas, not          A little, but I’m not the highest paid person
 ahead of the game, the state of Japan’s            just relying on the conventional distribution        in the company.
 film industry, finally getting paid and his        model. They won’t be immediately profit-
 penchant for fish analogies — his other            able, but we have to seed new ventures for           You have been involved with Gaga for over a
 business interests include a sushi restau-         the future. The social network game business         decade, and the entertainment business for far
 rant in Tokyo.                                     isn’t making money yet, but I’m confident            longer than that. What keeps you motivated to
                                                    that within a year, we’ll have recouped our          get up every morning and come to work?
 What are your hopes for Gaga at Busan this         investment. Our revenues from VOD this year          I’m like a tuna, if I don’t keep swimming
 year? Are there any titles you have particularly   are set to be double those of last year. And         around and around, I’m dead. I have to
 high expectations for?                             we’ve also just finished the run of our stage        keep doing something. I was an external
 Busan is a chance to meet people from              play version of The King’s Speech, which ran in      director for the first five years, just attend-
 around the world, as I’m always so busy            Tokyo and Osaka, the first theatrical produc-        ing monthly board meetings. But I was
 when I’m in Tokyo, and I’d like to see old         tion from Gaga Theater.                              very active — one of the few directors that
 friends, such as Mr. Kim Dong-ho. We’re                A little story I’ve been telling for more than   asked a lot of questions and pinpointed
 going to have some screenings, and also            20 years is how I use a red snapper when I           problems. Then five years later, I became
 some films to sell, including Rurouni              buy one. I cut off the head and chop it in half,     chairman, but I was working at Usen [a
 Kenshin. It’s a Warner Bros film, but we’re        then slice it in four, leaving the bones. I grill    cable music, broadcasting and IT com-
 taking care of worldwide sales outside of          one side of the head and boil the other side. I      pany] as one of the major shareholders
 Korea. We’ve been invited to have an open-         use the slices for sashimi , sushi, sautéing and     there. I took over this company completely
 air screening for that.                            grilling. The bones and tail I put into a soup       with my partner in 2009. I’m still fully
                                                    to make a good broth. I use every part of the        involved now, but soon I have to think
 Gaga has been branching out into new busi-         fish, and that’s like my business strategy. Film     about pulling back a little. But I’ll never
 ness areas, such as social media content. How      distribution is only one part of the business,       get out of this business completely. THR


           Cold War                                        from police radar. Despite all
                                                           the expensive, sophisticated
                                                                                                     mole who is passing info to the
                                                                                                     criminals, but he will be caught
                                                                                                                                            between institutional powers
                                                                                                                                            becomes a running theme, even
           CONTINUED FROM 1
                                                           technology at their disposal, the         and punished.                          as the fast and furious action
           Divergences) and hard-liner M.B.                police can’t find their own van.             So there are no angels on either    scenes continue.
           Lee (an unrecognizably aged                     Lee’s son is among the kidnapped          side, but most viewers will realize       It can be said in the film’s
           Tony Leung Ka-fai of The Lover)                 officers, raising concern he can’t        they are meant to side with the        favor that it is a rare example
           who’s pushing retirement age.                   act objectively. And so it seems:         good-looking, ever-serious Lau,        of genre in which the death
           While the chief commissioner                    he hotly declares a major state           who is now in charge of “opera-        of a minor character pulls the
           is out of the country, Lee has                  of alert and then harshly refuses         tion Cold War.” His mentor, the        heartstrings, thanks to its being
           been appointed acting commis-                   to let his press officer (straight-       Secretary of Security for the          underplayed. This invention-
           sioner with all the enormous                    talking actress Charlie Young)            Hong Kong Security Bureau              within-convention bodes well
           power it entails. Although both                 release info to the public. This          (played by star Andy Lau in a          for the future of tyro directors
           men want to work for the good                   breach of “the rules” causes his          brief cameo), gives him full pow-      Leung (an award-winning
           of Hong Kong and the safety                     rival Lau to step in with a legal         ers, but there’s something even        production designer) and Luk (a
           of its citizens, their conflicting              stratagem, political support from         above him — the Independent            well-known assistant director)
           perspectives explode over a seri-               above, and some arm-twisting.             Commission Against Corrup-             both working under the guidance
           ous crime that takes place in the                  A brief glimpse of an officer          tion (ICAC), established under         of veteran producer Bill Kong.
           opening scenes.                                 using water torture on a suspect          British rule and Commonwealth
              A bomb blasts through a                      during interrogation at police            laws. Their investigation into how     Opening Night Film
           crowded film theater. At almost                 HDQ passes as routine, but                the crisis was handled overrides       Production companies
           the same time, an arrogant                      raises uncomfortable questions.           everyone else. It’s put in the hands   Edko Film, Stars Shine Blue
           drunk driver speeds through                     Yet in general, the HK police             of a young, brilliant, maddeningly     Sea Productions
           the city’s freeways and totals his              are portrayed as hyper-efficient          green hotshot (actor-singer Aarif      Cast Tony Leung Ka-Fai,
           car. When a police van loaded                   and far less corrupt than in most         Rahman) who arrests first Lau          Aaron Kwok, Andy Lau
           with five cops arrives on the                   American TV series. True, there           and then Lee before learning “the      Directors Longman Leung,
           scene, it’s hi-jacked and vanishes              is one bad apple in the barrel, a         rules of the game.” This conflict      Sunny Luk

adv domino holly-def:Opmaak 1                           27-09-2012         10:43      Pagina 1

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 Eye Film Institute 1 D2 100612.indd 1                                                                                                                                9/28/12 11:01 AM
                                                                                                                  seconds-ticking suspense in
  Goodman, Arkin and
  Affleck play an                                                                                                 traditional movie-movie fashion,
  unlikely trio of                                                                                                even down to a pretty implausible
  hostage rescuers.                                                                                               but undeniably exciting climactic
                                                                                                                  chase. It would be a major
                                                                                                                  surprise indeed to learn that
                                                                                                                  things actually went down just as
                                                                                                                  they are shown. But if you want
                                                                                                                  a strictly factual account, you’d
                                                                                                                  probably rather be watching a
                                                                                                                  documentary, which Argo decid-
                                                                                                                  edly is not.
                                                                                                                     Still, the film goes to great
                                                                                                                  lengths to achieve an authentic
                                                                                                                  feel and an outstanding sense
                                                                                                                  of period. Turkey ably stands
                                                                                                                  in for Iran in crucial exteriors;
                                                                                                                  the many phones, communica-
                                                                                                                  tion and copying machines are
                                                                                                                  right; and the fashions — from
                                                                                                                  the tacky casual wear sported
                                                                                                                  by most characters to the out-

                                                                                                                  sized glasses frames — are spot-
                                                                              with sufficient plausible reality   on in their infinite hideousness.
                                                                              that he might be able to get the    Rodrigo Prieto’s superior
                                                                              six out of Iran posing as Cana-     cinematography affects a delib-
                                                                              dian production personnel who’d     erately grubby look entirely
         Director Ben Affleck scores again with a                             been on a location scout.           in keeping with locations and
                                                                                  Thus follows a most amus-       desired feel of sweaty squalor.
       tight and tense political thriller sparked by
                                                                              ing Hollywood interlude for            Except for the showier turns
           unexpected humor By Todd McCarthy

                                                                              which the cynical remarks of        by Arkin and Goodman, the
        RGO IS A CRACKER JACK          fundamentalist Islam in Iran           a veteran producer with some        performances are credibly utili-
         political thriller told       in 1979. Visceral scenes convey        time on his hands, Lester Siegel    tarian, led by Affleck as a smart
         with intelligence, great      the desperation of American            (Alan Arkin at his deadpan          agent who has learned not to tip
 period detail and a surprising        embassy workers to burn or             best), set the absurdly funny       his hand through outward dis-
 amount of nutty humor for a           shred sensitive documents              tone. Lester insists that the       plays. Cranston as Mendez’s boss
 serious look at the Iran hostage      before the raging mobs break           picture must appear to have a       and Victor Garber as the stalwart
 crisis of 1979-81. Proving even       through the gates and invade           degree of legitimacy to it, so an   Canadian ambassador are simi-
 more than before that he’s a          the premises, where they               existing Star Wars-type rip-off     larly solid and unostentatious.
 behind-the-camera force to            quickly take 52 hostages.              script called Argo is purchased,       Although the dramatic
 be reckoned with, Ben Affleck            But more than two months            a reading is held at the Beverly    conclusion comes as no real
 tells a dense, multilayered           later, the Iranians still don’t        Hilton with costumed actors,        surprise and represents the
 yarn “based on a declassified         realize that six Americans             and ads are prepared.               merest drop of cheer in a sea
 true story” with confidence           managed to slip out and take               So while Lester cracks that,    of unpleasantness between the
 and finesse, while its unlikely       refuge in the still-operating          “We had suicide missions in the     United States and Iran over
 Hollywood angle will make the         Canadian embassy. With his             Army that had better odds than      the past 33 years, it nonethe-
 hometown industry crowd feel          CIA colleagues at a loss to figure     this,” the CIA, fronted here by     less delivers a strong charge
 proud of itself. From all points      out how to sneak the six out of        Mendez’s boss Jack O’Donnell        of honest emotion, especially
 of view, this is one the major        Iran, bearded, longish-haired          (Bryan Cranston), surprisingly      surprising for what in format is
 releases of the fall season.          agent Tony Mendez (Affleck),           approves what it calls “the Hol-    a genre film. The final explana-
    The current perilous state         who has already extricated some        lywood Option.” The necessary       tions of how the real story of
 of U.S.-Iranian relations can         of the Shah’s cronies out of the       doctored passports in hand,         the mission was finally revealed
 only heighten the interest and        country, happens to catch a bit of     Mendez heads for the Canadian       includes a voice-over by Jimmy
 relevance of this fascinating side-   Battle for the Planet of the Apes on   embassy in Tehran, where he         Carter, who was president when
 show to contemporary events.          TV and hatches a scheme both           meets six fellow Americans who      it all took place.
    A stylishly succinct pro-          bird-brained and brilliant: He’ll      are scared stiff.
 logue made up of cartoons and         approach the series’ prosthetics           The final act of the highly     World Cinema
 documentary footage lays out          expert (real-life Oscar-winning        skilled screenplay by Chris Ter-    Production company Smoke-
 in simple terms what led up to        makeup artist John Chambers,           rio, whose other principal credit   house Pictures
 the departure of the Western-         wonderfully played by John             is for directing the little-seen    Cast Ben Affleck, Bryan Crans-
 supported Shah and the advent         Goodman) to help set up a              2005 film Heights, ramps things     ton, Alan Arkin, John Goodman
 of the Ayatollah Khomeini and         phony science fiction project          up from cold-sweat tension to       Director Ben Affleck

                       National Security
                       Torture is the subject and the graphic,
                       non-stop scenes make this serious film
                         stomach-churning By Deborah Young

              the world at regular intervals, as though reminding state authori-
              ties to curb their arrogance and respect the most basic human                             Park Weon-sang
                                                                                                        plays a prisoner
        rights. National Security is one such picture from South Korea, an                              subjected to almost
        entirely sincere and dignified effort by Chung Ji-young, who directed                           unwatchable cruelty.
        the courtroom drama Unbowed last year. He and his small, on-target
        cast are so successful in depicting the horrors undergone by young pro-                        never leaves him for a moment through his ordeals, which begin
        democracy political prisoners that the film is virtually impossible to                         with beatings, proceed to starvation, and culminate in the arrival
        watch, and unlikely to escape from the ghetto of local art house release                       of The Undertaker, a calm-looking gentleman carrying a black
        and scattered fest bows after its gala presentation in Busan.                                  case full of electrodes and a timer to keep his victims from dying.
           Though illustrious predecessors like Marco Bechis’s Argentine                                  Only the bravura of the cast, first and foremost Park and Lee,
        drama Garage Olimpo and Ibrahim El-Batout’s recent Winter of                                   generates sufficient interest to see the film through to its surpris-
        Discontent set in contemporary Egypt inevitably spring to mind,                                ing conclusion. In contrast, the spare, essential camerawork and
        Chung is far more narrowly focused on the physical and mental                                  claustrophobic sets do little to transcend the subject.
        anguish inflicted on Kim Jong-tae (Park Weon-sang), a stand-in
        for the real-life Kim Geun-tae, who became a well-known politi-                                Gala Presentation
        cian after surviving three weeks of torture in the infamous Nam                                Production companies Aurapictures
        Young-Dong detention center under South Korea’s military rule                                  Cast Park Weon-sang, Lee Kyeong-yeong, Myung Gye-nam
        in the 1980s. Opening on Kim being thrown into his cell, the film                              Director Chung Ji-young

adv nick holly-def:Opmaak 1                            27-09-2012      10:53      Pagina 1

                                                                                                                                                           World Cinema


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 Eye Film Institute 2 D2 100612.indd 1                                                                                                                                9/28/12 11:00 AM

    Gangs of
   A dizzying explosion of an Indian gangster film,
  whose epic structure and colorful, immoral killers
     capture the imagination for over five hours
                           By Deborah Young

        N EXTRAORDINARY RIDE            seems to run out of invention         Rival families fight
          through Bollywood’s           or bullets. Less successful is the    for power in the coal
                                                                              mining region of
          spectacular, over-the-top     screenwriters’ attempt to embed       Wasseypur in director
 filmmaking, Gangs of Wasseypur         the tale in a historical and          Kashyap’s violent epic.
 puts Tarantino in a corner with        political context, which simply
 its cool command of cinemat-           doesn’t have room to emerge          into the palace-fortress of the          coal mines, Ramadhir Singh, set-
 ically-inspired and referenced         amid all the mayhem. Though          reigning don, Faizal Khan. They          ting off a power struggle between
 violence, ironic characters and        the testosterone level is pumped     do enough damage to believe him          the two clans that lasts until the
 breathless pace. All of this bodes     to the max, there’s still room       dead, but the audience will be           final reel.
 well for cross-over audiences in       for funny jokes, fooling around      rightly suspicious that his body is         Shahid’s hot-blooded son Sar-
 the West. Split into two parts,        and vibrant film characters          not among the rubble.                    dar shaves his head, vowing not
 this epic gangster story spanning      that spring to life with mythical        In the first half of the film, the   to grow his hair until he exacts
 70 years of history clocks in at       deeds and single-minded pas-         early history of Faizal’s family         revenge for his father’s death.
 more than five hours of smartly        sions. No moralizing or regrets      is told, beginning with the rise         His passion for two women who
 shot and edited footage, making        trouble their consciences, nor       of his grandfather Shahid Khan           will become his wives gives him a
 it extremely difficult to release      are they likely to bother the        in the days when coal mines              human, even comic side. There
 outside cult and midnight ven-         young male demographic that          represented wealth and power.            are only four female characters in
 ues. Its bow on the fest circuit has   will account for the lion’s share    An omniscient narrator, who              this boys’ club, all beautiful fire-
 been met with rousing consensus,       of the audience.                     survives throughout the film,            brands whose bloodthirsty ambi-
 but it’s still an exotic taste at a       Vengeance, blind ambition         explains how, from time imme-            tion for their offspring would put
 delirious length.                      and greed oil the wheels of a        morial, Muslims have fought              Ma Barker to shame. Nagma,
     Tipping his hat to Scorsese,       long-running blood feud between      other Muslims in the area, not for       Sardar’s first wife, bears him four
 Sergio Leone and world cinema          competing godfathers in the Ben-     religious reasons, but out of pure       sons, including the gangsters
 as well as paying homage to            gal mining towns of Wasseypur        evil. Back in 1941, the mythic rob-      Faizal, Danish and “Perpendicu-
 Bollywood, writer-director-pro-        and Dhanbad. The film opens          ber Sultana Daku looted British          lar” Khan, while his Hindi wife
 ducer Anurag Kashyap (Black            with a teasing flash-forward to      trains; he is later imitated by the      Durga belatedly contributes the
 Friday) fashions a kind of Once        the end of the story, when a gang    sadistic Shahid Khan (Jaideep            fearsome “Definitive” Khan.
 Upon a Time in Bengal, a piece of      armed to the teeth with bombs        Ahlawat), who is eventually mur-         Each murderous son stars in a
 violent entertainment that never       and machine guns blast their way     dered by the young owner of the          section of the story highlighting

                                                                                   XHILARATING, OPAQUE, HEARTBREAKING AND
  Motors is
  Carax’s first                                                                   completely bonkers – French auteur Leos Carax’s so-called
  film in 13 years.                                                               comeback film, Holy Motors, is a deliciously preposterous
                                                                             piece of filmmaking that appraises life and death and everything
                                                                             in between, reflected in a funhouse mirror.
                                                                                Beyond a segment of the 2008 triptych Tokyo!, the elusive
                                                                             Carax hasn’t made a film since his cult Cannes competition entry
                                                                             Pola X 13 years ago. He’s obviously been bottling up some seri-
                                                                             ously wacky ideas and they all blow their lids at once in this avant-
                                                                             garde sci-fi concoction that represents — maybe — a scream in the
                                                                             night against our enslavement to the virtual world.
                                                                                We can only sit back and marvel as Carax’s id, in the shape of

                      Holy Motors                                            weather-beaten French character actor and long-time collabora-
                                                                             tor Denis Lavant, runs wild through the streets of Paris, tossing
                                                                             out visually stunning sequences that are by turns erotic, repug-
      French auteur Leos Carax returns with a film                           nant and sad.
      that’s as exciting and poignant as it is bizarre                          The boisterous accordion jam alone is worth the price of admission.
                           By Megan Lehmann                                     Smoking like a train, Lavant inhabits eleven – count ’em

                                        the family arsenal and buys
                                        some new-fangled pagers that                     The Winter of the
                                                                                          Year was Warm
                                        have just come on the market to
                                        communicate with his gang. Cell
                                        phones will soon be added.
                                           His courtship of Mohsina               This romantic drama with a modicum of character
                                                                                     suffers from too much focus By Elizabeth Kerr

                                        (Huma Qureshi) is one of the
                                        film’s non-violent high points.                 ATHED IN SOFT LIGHT AND DELIBERATELY PACED
                                        Addicted to romantic movies,                     (meaning, slow), Cho Sung-kyu’s The Winter of the Year was
                                        the lovely Mohsina looks like a                  Warm is a romantic drama that unfolds with the same trepi-
                                        Brooklyn moll and wears the               dation and uncertainty as its central romance. Splitting the story
                                        same Ray Bans as Faizal, by               between urban Seoul and more rural Gangreung takes the lethar-
                                        which they recognize they are             gic edge off the film, but ultimately it can’t save it completely. The
                                        soul mates. Their sexy dialogue is        Winter is more a curiosity than an abject disaster, but it’s a festival
                                        a hoot, though the most blatant           film with only a modest shot at art house success, which would
                                        vulgarities are left to the lyrics        likely come at home in Korea.
                                        (duly translated in the subtitles)           A filmmaker (Kim Tae-woo, Woman on the Beach) and a nurse
                                        to Sneha Khanwalkar’s sparkling           (Yeh Ji-won, After the Banquet)
his outrageous misdeeds and             score, pumped up with drum-               swap apartments to make
amorous pursuits.                       beats at the first sign of gunplay.       their respective weekend
   If the first half of the film sets      Kashyap, whose reputation as           sojourns to the country and
the background to the pres-             a screenwriter and controversial          the city a little more comfort-
ent day, Part 2 has moments             director reach a culmination in           able. He wants to escape the
of humor and is an easier, if           this film, is the real behind-the-        pressures of writing his next
certainly no less bloody, watch         scenes godfather, never losing            screenplay, and she is looking
thanks to its many salutes to           control over the storytelling or          for a reprieve from her pro-
popular music and cinema.               hundreds of actors, and allowing          vincial life and sick patients
Sardar’s violence has made him          tongue-in-cheek diversions in the         she’s grown oddly close to.
the godfather, a role he keeps          second half that confirm his com-         Their timeshare leads them
until betrayed at a gas station.        mand over the sprawling material.         to a deeper relationship that
                                                                                                                         Yeh Ji-won stars as a nurse who
His body, riddled with bullets,                                                   may or may not bloom into           becomes involved with a screenwriter.
is carted away by his maddened          Midnight Passion                          something more lasting.
son Danish, who goes on a               Cast Manoj Bajpayee, Richa                   The Winter of the Year was Warm lacks both the glossy veneer
rampage. But Danish isn’t smart         Chaddha, Reema Sen                        of a commercial romantic drama and edgy execution of an
enough to last long, and the fam-       Director Anurag Kashyap                   indie, leaving it with little in the way of personality or distinc-
ily black sheep Faizal (Nawazud-        Screenwriters Anurag                      tive tone. Kim and Yeh are serviceable in their roles, and Cho is
din Siddiqui), a hash smoking           Kashyap, Zeishan Quadri, Akh-             clearly aiming for a naturalistic dynamic that gives the impres-
pothead, climbs the ladder to           ilesh Jaiswal, Sachin Ladia               sion of peeking into this odd couples’ life. However it’s mostly
power after cutting off his best        Producers Anurag Kashyap,                 unconvincing and vaguely awkward. Few people would use the
friend and betrayer’s head.             Sunil Bohra                               phrase “Cheer up!” followed by a slap to the shoulder when
Taking his cue from Michael             Director of photography                   talking with a friend that’s just experienced a death. That said,
Corleone, Faizal modernizes             Rajiv Ravi                                The Winter is refreshing for its lack of histrionics (common in
                                                                                  Korean romance) and tendency toward pre-industrial revolu-
                                                                                  tion gender relations. The film also recalls Hong Sang-soo
– different roles during the course of a 24-hour odyssey as he is                 (with whom Kim has collaborated) in its episodic, freewheeling
chauffeured about the city by his attentive driver, Celine (the                   structure and attention to detail, the big difference being Cho’s
glorious Edith Scob). It’s performance art, with an interval,                     general positivity.
and makes the most of the actor’s incredible, pliant face and                        But perhaps most disappointing is the missed opportunity
acrobat’s body.                                                                   to make any pointed comments or observations about film-
   Carax, who appears briefly in an overture to the film, says he                 making and art in Korea, particularly in light of how much of
is angry with the way people have succumbed so completely to                      Cho’s real life is incorporated into the narratives. Aside from a
the virtual world, turning their computer into their home, their                  few brief sequences where the writer attempts to get financing,
hearth. In a world where people clutch their smart phones like                    which hinges on his choice of a blockbuster director, Cho leaves
security blankets and store all their treasured memories on a hard                the industry story firmly on the sidelines. It’s a shame because
drive, he just may have a point.                                                  this is the stronger thread of the two and would be worth a
                                                                                  watch were Cho to apply the same understated, observational
World Cinema                                                                      mechanics to that subject.
Cast Denis Lavant, Edith Scob, Eva Mendes, Kylie Minogue
Production companies Piere Grise Production/Theo Films/Arte                       Korean Cinema Today: Panorama
France Cinema/Pandora Film/WDR-Arte                                               Producer Cho Eun-un
Writer-director Leos Carax                                                        Director Cho Sung-kyu
Producer Didier Abot                                                              Cast Kim Tae-woo, Yeh Ji-won, Seo Bum-seok, Ahn Young-mi

 TODAY                            DCP / Color, L6; The Weight,     Cinema Today-Vision, 2012
 10:00 Side by Side, Special      Korean Cinema Today-             / 108min / DCP / B&W, C4;
 Programs in Focus-Arche-         Panorama, 2012 / 107min /        Red Scarf, Korean Cinema
 ology of Cinema, 2012 /          DCP / Color, SH; Akhtar the      Retrospective SHIN Young-
 99min / HDCAM / Color, L7;       Clown, Special Programs in       kyun, the Masculine Icon of
 Architecture 101, Korean         Focus Afghanistan National       Korean Cinema: From Farm-
 Cinema Today-Panorama,           Film Archive: The Rise from      hand to King, 1964 / 100min
 2012 / 118min / DCP / Color,     the Ashes, 1981 / 77min /        / DCP / Color, CS
 MM; Helpless, Korean             (Digi)Beta / B&W, B3; Le
 Cinema Today-Panorama,           Grand Soir, World Cinema,        14:00 Laurence Anyways,
 2012 / 117min / DCP / Color,     2012 / 92min / DCP / Color,      World Cinema, 2012 /
 CS; Reality, World Cinema,       L3; Steel, Flash Forward, 2012   169min / DCP / Color, M1;
 2012 / 115min / DCP / Color,     / 95min / DCP / Color, L8;       Caesar Must Die, World
 M6; After Lucia, World           The Homeless Wanderer,           Cinema, 2012 / 76min /
 Cinema, 2012 / 102min / DCP      Korean Cinema Retrospective      DCP / Color+B&W, L3; In
 / Color, L5; Marie Kroyer,       SHIN Young-kyun, the Mascu-      Another Country, Korean
 World Cinema, 2012 / 98min       line Icon of Korean Cinema:      Cinema Today-Panorama,
 / DCP / Color, LC; The           From Farmhand to King, 1968      2012 / 89min / HDCAM /
 Color of Pomegranates,           / 97min / 35mm / Color, C7       Color, C5; The Land of
 Special Programs in Focus                                         Hope, A Window on Asian
 The Eternal Travelers for        12:30 In Darkness, Poland        Cinema, 2012 / 134min           Newcomer Quvenzhane Wallis
 Freedom: Sergei Parajanov        in Close-up: The Great Pol-      / DCP / Color, CB; The          plays Hushpuppy, a young girl
 and Mikhail Vartanov, 1968       ish Masters, 2011 / 143min /     Castle of Purity, Special       growing up in a Louisiana bayou
 / 79min / (Digi)Beta / Color,    35mm / Color, B1                 Programs in Focus-Arturo        in Beasts of the Southern Wild.
 B2; Father of a Soldier,                                          Ripstein: Four Stories
 Special Programs in Focus-       13:00 Sofia and the              of Captive Minds, 1973 /       2011 / 112min / 35mm / Color,   / Color, L3; Four Stations,
 Archeology of Cinema, 1964       Stubborn, World Cinema,          110min / 35mm / B&W, M2;       M6; I.D, A Window on Asian      A Window on Asian Cinema,
 / 88min / DCP / Color, C2;       2012 / 74min / DCP / Color,      Our Homeland, A Window         Cinema, 2012 / 87min / DCP      2012 / 108min / (Digi)Beta /
 36, New Currents, 2012 /         M6; 10+10, A Window              on Asian Cinema, 2012 /        / Color, C2; Breakaway, A       Color, C5; Crows, Poland in
 68min / DCP / Color, B1; The     on Asian Cinema, 2011 /          100min / HDCAM / Color,        Window on Asian Cinema,         Close-up: The Great Polish
 Cremator, A Window on            114min / DCP / Color+B&W,        C6; Japan’s Tragedy, A         2012 / 88min / DCP / Color,     Masters, 1994 / 63min /
 Asian Cinema, 2012 / 90min       MM; The Fifth Season,            Window on Asian Cinema,        M9; Chaos, Midnight Pas-        35mm / Color, B3; Captain
 / DCP / Color, M4; Beasts of     World Cinema, 2012 /             2012 / 101min / 35mm /         sion, 2012 / 101min / DCP /     Kang, Wide Angle - Docu-
 the Southern Wild, World         94min / DCP / Color, M4;         Color+B&W, C7; Annelie,        Color, M4; The Crack, Flash     mentary Showcase, 2012 /
 Cinema, 2012 / 92min / DCP       Go Grandriders, Wide             Flash Forward , 2012 /         Forward, 2012 / 101min /        78min / HDCAM / Color, C6;
 / Color, M9; In God’s Land,      Angle - Documentary              117min / DCP / Color, L8;      DCP / Color, B2; Gf*Bf, A       Argo, World Cinema, 2012
 Wide Angle - Documentary         Competition, 2012 / 90min        Talgat, A Window on Asian      Window on Asian Cinema,         / 120min / DCP / Color, SH;
 Competition, 2012 / 75min /      / DCP / Color, C3; The Last      Cinema, 2012 / 84min /         2012 / 105min / DCP / Color,    Azooma, Korean Cinema
 (Digi)Beta / Color, C3; Pluto,   Sentence, World Cinema,          DCP / Color, M3; A Year        L9; Nil, A Window on Asian      Today-Vision, 2012 / 74min
 Korean Cinema Today-Vision,      2011 / 104min / DCP /            of the Quiet Sun, Poland       Cinema, 2012 / 73min / (Digi)   / DCP / Color, M3; State of
 2012 / 120min / DCP / Color,     B&W, M9; Touch of the            in Close-up: The Great         Beta / Color, L7; CHAR...       Emergency, Flash Forward,
 C4; National Security,           Light, New Currents, 2012        Polish Masters, 1984 /         the No-Man’s Island,            2011 / 100min / (Digi)Beta
 Gala Presentation, 2012 /        / 110min / DCP / Color,          105min / 35mm / Color, B3;     Wide Angle - Documentary        / Color, CB; Sky Force 3D,
 110min / HDCAM / Color,          BH; Fuer Elise, Flash            The Great Flight, Special      Competition, 2012 / 88min /     World Cinema, 2012 / 91min
 C1; Tumbleweed, Korean           Forward, 2012 / 94min /          Programs in Focus-Special      HDCAM / Color, C3; Yuma,        / DCP / Color, MBT2; The
 Cinema Today-Panorama,           DCP / Color, B2; All Apolo-      Screening, 2012 / 91min /      World Cinema, 2012 / 113min     Dandelions, World Cinema,
 2012 / 111min / DCP / Color,     gies, A Window on Asian          DCP / Color, COMC; Pieta,      / DCP / Color, LC; National     2012 / 90min / DCP / Color,
 CA; Nairobi Half Life, World     Cinema, 2012 / 88min /           Korean Cinema Today-           Security, Gala Presentation,    L8; Spring, Spring, Korean
 Cinema, 2012 / 96min /           DCP / Color, M7; Soegija,        Panorama, 2012 / 104min        2012 / 110min / HDCAM /         Cinema Retrospective SHIN
 HDCAM / Color, BH; Asian         A Window on Asian Cin-           / DCP / Color, SH; Theatre     Color, BH; Kayan, New Cur-      Young-kyun, the Masculine
 Short Film Competition           ema, 2012 / 110min / DCP         1&2, Wide Angle - Docu-        rents, 2012 / 86min / HDCAM     Icon of Korean Cinema: From
 1, Wide Angle - Asian            / Color, L9; The Domino          mentary Showcase, 2012 /       / Color, B1; Asian Short Film   Farmhand to King, 1969 /
 Short Film Competition,          Effect, World Cinema,            342min / HDCAM / Color,        Competition 3, Wide Angle       65min / 35mm / Color, C7
 70 min, L4                       2012 / 100min / DCP /            L2; Behind the Camera,         - Asian Short Film Competi-
                                  Color, L7; The Stranger,         Korean Cinema Today-           tion, 81 min, L4                17:30 The Sapphires,
 10:30 My Way, Korean Cin-        Special Programs in Focus        Panorama, 2012 / 85min /                                       World Cinema, 2012 /
 ema Today-Panorama, 2011         Afghanistan National Film        DCP / Color, L6                16:30 White Belly, World        103min / DCP / Color, M1
 / 137min / DCP / Color, C6       Archive: The Rise from                                          Cinema, 2012 / 111min /
                                  the Ashes, 1986 / 45min /        15:00 The Saragossa            DCP / Color, L6; Paramed-       19:00 5 Broken Cameras,
 11:00 Nameless Gangster:         (Digi)Beta / Color, C2; A        Manuscript, Poland in          ico, Wide Angle - Docu-         Wide Angle - Documentary
 Rules of the Time, Korean        Special Day, World Cin-          Close-up: The Great Polish     mentary Showcase, 2012 /        Showcase, 2011 / 90min /
 Cinema Today-Panorama,           ema, 2012 / 90min / DCP          Masters, 1964 / 185min /       77min / HDCAM / Color, L5;      (Digi)Beta / Color+B&W, C3;
 2012 / 133min / DCP / Color,     / Color, LC; Asian Short         DCP / B&W, M7; Rhino Sea-      Lore, World Cinema, 2011        The Beginning and the End,
 MBT1; Shyamal Uncle Turns        Film Competition 2, Wide         son, Gala Presentation, 2012   / 104min / DCP / Color, C4;     Special Programs in Focus-
 off the Lights, A Window on      Angle - Asian Short Film         / 93min / DCP / Color, C1;     Soar into the Sun, Special      Arturo Ripstein: Four Stories
 Asian Cinema, 2012 / 65min /     Competition, 82 min, L4;         Tumbleweed, Korean Cin-        Programs in Focus-Special       of Captive Minds, 1993 /
 (Digi)Beta / Color, C5; Eden,    King Hu + Tony Rayns             ema Today-Panorama, 2012       Screening, 2012 / 113min /      170min / 35mm / Color+B&W,
 World Cinema, 2012 / 98min       and a Quater Century             / 111min / DCP / Color, CA     DCP / Color, CS                 M4; Eat Sleep Die, World
 / DCP / Color, M2; The Town      of Korean Cinema, Wide                                                                          Cinema, 2012 / 104min / DCP
 Of Whales, New Currents,         Angle - Documentary              16:00 The Realm of For-        17:00 Rent-A-Cat, A Win-        / Color, MM; Fly with the
 2012 / 70min / HDCAM /           Showcase, 104 min, L5            tune, Special Programs in      dow on Asian Cinema , 2012      Crane, A Window on Asian
 Color, L2; Blood Pressure,                                        Focus-Arturo Ripstein: Four    / 110min / HDCAM / Color,       Cinema, 2012 / 99min / DCP
 World Cinema, 2012 / 94min       13:30 The Concubine,             Stories of Captive Minds,      COMC; Holy Motors, World        / Color, M7; Blancanieves,
 / HDCAM / Color, CB; Hello       Korean Cinema Today-Pan-         1986 / 130min / 35mm /         Cinema, 2012 / 116min /         World Cinema, 2011 / 104min
 Goodbye, A Window on             orama, 2012 / 122min / DCP /     B&W, MM; The Dancer, A         DCP / Color, M2; Still, World   / DCP / B&W, L4; Pecu-
 Asian Cinema, 2012 / 122min /    Color, MBT2; Jiseul, Korean      Window on Asian Cinema,        Cinema, 2012 / 93min / DCP      liar Vacation and Other

                                Cinema, 2012 / 93min /          MM; Dust on Our Hearts,         Belly, World Cinema, 2012       Buds, Flash Forward, 2011
                                DCP / Color, M3; If Only        World Cinema, 2012 / 91min      / 111min / DCP / Color, B2;     / 91min / DCP / Color, M3;
                                Everyone; World Cinema,         / DCP / Color, LC; Three        Dormant Beauty, World           Anxiety, Wide Angle -
                                2012 / 98min / DCP / Color,     Sisters, Wide Angle - Docu-     Cinema, 2012 / 110min /         Documentary Competition,
                                M1; Pinocchio, Open             mentary Showcase, 2012          DCP / Color, BH; Pinoc-         2012 / 95min / HDCAM /
                                Cinema, 2012 / 80min /          / 153min / DCP / Color, L9;     chio, Open Cinema, 2012         Color, C6; Mai Ratima,
                                DCP / Color, BT; The Ses-       Still I Strive, Wide Angle      / 80min / DCP / Color, M4;      Korean Cinema Today-
                                sions, World Cinema, 2012       - Documentary Showcase,         Blood Pressure, World           Vision, 2012 / 123min / DCP
                                / 95min / 35mm / Color,         2012 / 92min / DCP / Color,     Cinema, 2012 / 94min /          / Color, L6; The Gardener,
                                COMC; The Sound of              M4; Once Upon a Time,           HDCAM / Color, C2; Purge        Gala Presentation, 2012 /
                                Memories, Korean Cinema         Special Programs in Focus       World Cinema, 2012 /            87min / DCP / Color, L8
                                Today-Vision, 2012 / 102min     Afghanistan National Film       125min / DCP / Color, LC;
                                / 35mm / Color, M2; Mai         Archive: The Rise from the      The Sound of Memories,          14:30 Arjun, Wide Angle -
                                Ratima, Korean Cinema           Ashes, 1969 / 127min / (Digi)   Korean Cinema Today-            Animation Showcase, 2012
                                Today-Vision, 2012 / 123min     Beta / B&W, B2; B·E·D, Gala     Vision, 2012 / 102min /         / 95min / DCP / Color, MBT1
                                / DCP / Color, CB; The          Presentation, 2012 / 90min      35mm / Color, M9; Your
                                Man Who Laughs, World           / DCP / Color, C1; The          Time Is Up, New Cur-            16:00 The Fourth State,
                                Cinema, 2012 / 93min / DCP      Man Who Laughs, World           rents, 2012 / 85min / DCP       Midnight Passion, 2012 /
                                / Color, SH; The Winter         Cinema, 2012 / 93min / DCP      / Color, B1; Touch, Korean      110min / 35mm / Color, M9;
                                of the Year was Warm,           / Color, L5                     Cinema Today-Panorama,          111 Girls, New Currents,
                                Korean Cinema Today-                                            2012 / 99min / DCP / Color,     2012 / 79min / HDCAM /
                                Panorama, 2012 / 100min         11:00 EunGyo, Korean            C3; Behind the Camera,          Color, B1; Paradise: Love,
                                / HDCAM / Color, C5; All        Cinema Today-Panorama,          Korean Cinema Today-            World Cinema, 2012 /
                                Musicians Are Bastards,         2012 / 129min / DCP /           Panorama, 2012 / 85min          120min / HDCAM / Color,
                                Flash Forward, 2012 /           Color, MBT1; In Another         / DCP / Color, CA; Prince       MM; 3, World Cinema,
Illnesses, A Window on          87min / DCP / Color, L8;        Country, Korean Cinema          Daewon, Korean Cinema           2012 / 115min / 35mm /
Asian Cinema, 2012 / 90min      Tour of Duty, Wide Angle -      Today-Panorama, 2012 /          Retrospective SHIN Young-       Color, M7; Odayaka, A
/ DCP / Color, L9; Rhino        Documentary Competition,        89min / HDCAM / Color,          kyun, the Masculine Icon        Window on Asian Cinema,
Season, Gala Presentation,      2012 / 150min / HDCAM /         L2; Holy Motors, World          of Korean Cinema: From          2012 / 102min / HDCAM /
2012 / 93min / DCP / Color,     Color, C6                       Cinema, 2012 / 116min           Farmhand to King, 1968 /        Color, L5; Eden, A Window
BH; Full Circle, A Window on                                    / DCP / Color, M2; Love         120min / 35mm / Color, C7;      on Asian Cinema, 2012 /
Asian Cinema, 2012 / 104min     23:59 Midnight Passion          in 42.9, Korean Cinema          An End to Killing, A Win-       101min / HDCAM / Color,
/ HDCAM / Color, L7; Flower     2, Midnight Passion, 302        Today-Vision, 2012 / 97min      dow on Asian Cinema, 2012       L7; Abigail Harm, World
Buds, Flash Forward, 2011       min, BH                         / HDCAM / Color, C5; A          / 108min / DCP / Color, L7      Cinema, 2012 / 80min /
/ 91min / DCP / Color, B2;                                      Better Life Is Elsewhere,                                       DCP / Color, M4; Beijing
Material, World Cinema,                                         Wide Angle - Documentary        13:30 The Cremator, A           Flickers, A Window on
2012 / 93min / 35mm /           TOMORROW                        Showcase, 2012 / 90min /        Window on Asian Cinema,         Asian Cinema, 2012 /
Color, M6; Still I Strive,      10:00 Architecture 101,         DCP / Color, L6; Cul-de-        2012 / 90min / DCP / Color,     96min / HDCAM / Color,
Wide Angle - Documentary        Korean Cinema Today-Pan-        sac, Poland in Close-up:        L9; Tumbleweed, Korean          C3; Lore, World Cinema,
Showcase, 2012 / 92min /        orama, 2012 / 118min / DCP      The Great Polish Masters        Cinema Today-Panorama,          2011 / 104min / DCP /
DCP / Color, LC; Here and       / Color, CA; The Angels’        , 1966 / 113min / 35mm /        2012 / 111min / DCP / Color,    Color, CS; Born to Hate...
There, World Cinema, 2012       Share, World Cinema, 2012       B&W , B3; Beasts of the         MBT2                            Destined to Love, A
/ 110min / DCP / Color, M9;     / 101min / 35mm / Color,        Southern Wild, World                                            Window on Asian Cinema,
The Russian Novel, Korean       C4; The Castle of Purity,       Cinema, 2012 / 92min /          14:00 Life Sentence,            2012 / 131min / DCP / Color,
Cinema Today-Vision, 2012       Special Programs in Focus-      DCP / Color, SH; The Last       Special Programs in Focus-      L9; Hello Goodbye, A
/ 140min / DCP / Color, C4;     Arturo Ripstein: Four Stories   Time I Saw Macao, World         Arturo Ripstein: Four Stories   Window on Asian Cinema,
The Commander and the           of Captive Minds, 1973 /        Cinema, 2012 / 85min / DCP      of Captive Minds, 1979 /        2012 / 122min / DCP /
Stork, World Cinema, 2012       110min / 35mm / B&W,            / Color, L3; The Domino         95min / 35mm / B&W, M2;         Color, LC; Jiseul, Korean
/ 108min / DCP / Color, B1;     C2; Shyamal Uncle Turns         Effect, World Cinema, 2012      Valley of Saints, A Window      Cinema Today-Vision, 2012
Birth of Happiness, Special     off the Lights, A Window        / 100min / DCP / Color, L8;     on Asian Cinema, 2012 /         / 108min / DCP / B&W, CA;
Programs in Focus-Archeol-      on Asian Cinema, 2012 /         The End of Time, Wide           82min / HDCAM / Color,          Like Eagle, Special Pro-
ogy of Cinema, 1963 / 91min /   65min / (Digi)Beta / Color,     Angle - Documentary             CB; Marie Kroyer, World         grams in Focus Afghanistan
DCP / B&W, C2                   L7; Ernest & Celestine,         Showcase, 2012 / 114min         Cinema, 2012 / 98min / DCP      National Film Archive:
                                Wide Angle - Animation          / HDCAM / Color, C6;            / Color, SH; Parajanov: The     The Rise from the Ashes,
19:30 Postcards from the        Showcase, 2012 / 80min /        Doctor, Gala Presenta-          Last Spring, Special Pro-       1965 / 80min / (Digi)Beta
Zoo, A Window on Asian          DCP / Color, BH; Serenade,      tion, 2012 / 97min / DCP /      grams in Focus The Eternal      / B&W, C2; B·E·D, Gala
Cinema, 2012 / 95min /          Wide Angle - Documen-           Color, CB                       Travelers for Freedom: Ser-     Presentation, 2012 / 90min
DCP / Color, CS; Kinshasa       tary Competition, 2012 /                                        gei Parajanov and Mikhail       / DCP / Color, BH; Perfect
Kids, World Cinema, 2012 /      103min / DCP / Color, C7;       12:30 In Darkness, Poland       Vartanov, 1992 / 55min /        Number, Korean Cinema
85min / HDCAM / Color, L5;      Berberian Sound Studio,         in Close-up: The Great Pol-     (Digi)Beta / Color+B&W,         Today-Panorama, 2012 /
Don’t Cry, Mommy, Open          World Cinema, 2012 / 92min      ish Masters, 2011 / 143min /    B3; Talgat, A Window on         119min / DCP / Color, M6
Cinema, 2012 / 90min /          / 35mm / Color, M9; Cold        35mm / Color, C4                Asian Cinema, 2012 / 84min
DCP / Color, CA                 Bloom, A Window on Asian                                        / DCP / Color, COMC; The        16:30 Distortion, A Window
                                Cinema, 2012 / 120min /         13:00 Fatal, New Currents,      Pirogue, World Cinema,          on Asian Cinema, 2012 /
20:00 The Woman Who             DCP / Color, CS; Appari-        2012 / 103min / HDCAM           2012 / 87min / DCP / Color,     111min / 35mm / Color, C4;
Brushed off Her Tears,          tion, New Currents, 2012 /      / Color, L5; Six Degrees        L3; Penance, A Window           Melo, Korean Cinema Today-
World Cinema, 2011 /            87min / DCP / Color, B1; A      of Separation from Lilia        on Asian Cinema, 2012 /         Vision, 2012 / 119min / DCP
103min / 35mm / Color,          Motor Home Adventure, A         Cuntapay, A Window on           300min / HDCAM / Color,         / Color, M2; State of Emer-
B3; Distortion, A Window        Window on Asian Cinema,         Asian Cinema, 2011 / 93min      C5; My Name Is Negah-           gency, Flash Forward, 2011 /
on Asian Cinema, 2012 /         2012 / 102min / HDCAM /         / DCP / Color, CS; Pollut-      dar Jamali and I Make           100min / (Digi)Beta / Color,
111min / 35mm / Color, C7;      Color, C3; Yuma, World          ing Paradise Wide Angle         Westerns, Wide Angle -          B2; Rice, Korean Cinema Ret-
Nick, World Cinema, 2012        Cinema, 2012 / 113min /         - Documentary Show-             Documentary Showcase,           rospective SHIN Young-kyun,
/ 84min / DCP / Color, L3;      DCP / Color, L4; Gangs          case        2012 / 98min /      2012 / 65min / DV / Color,      the Masculine Icon of Korean
Salt, World Cinema, 2011        of Wasseypur Part 1&2,          35mm / Color, M7; Salt,         L2; Shackled, A Window on       Cinema: From Farmhand to
/ 114min / DCP / Color,         Midnight Passion, 2012 /        World Cinem, 2011 / 114min      Asian Cinema, 2012 / 93min      King, 1963 / 124min / 35mm /
L6; The Good Lie, World         320min / 35mm / Color,          / DCP / Color, M6; White        / DCP / Color, M1; Flower       B&W, C7 THR



                                                                                            CHUNG SUNG-JUN/GETTY IMAGES

  With 500-plus titles to his credit in a 50-year career, Ennio Morricone may be best
  known for five unforgettable notes from Sergio Leone’s classic spaghetti western The
  Good, the Bad and the Ugly. At the 12th edition of BIFF, however, the prolific composer
  was honored for his full body of work, and made a rare festival appearance wth his
  wife Maria. BIFF marked the occasion with a live performance of indellible Morricone
  scores like Cinema Paradiso and The Mission by the Busan Symphony Orchestra.

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