Posted on : May.24,2017 17:38 KST Modified on : May.24,2017 17:38 KST

Director Bong Joon-ho (fifth from the left) poses with the forged of “Okja” on the pink carpet on the Cannes Film Festival, earlier than the film’s premiere. (offered by Netflix)

Big-name South Korean administrators Bong Joon-ho and Hong Sang-soo are each in competitors with their newest works

The 70th Cannes Film Festival has entered its second week. While the pageant is now in full swing after its May 17 opening, terrorist threats have resulted in a extra somber environment than in previous years. The Promenade de la Croisette, the place the Grand Theatre Lumiere most important venue is positioned, has police stationed throughout, whereas stricter controls on theater entry have left viewers ceaselessly having to face in line for an hour or extra. In some circumstances, guests have had their pageant credentials revoked after complaining concerning the tight safety checks.

Despite the subdued environment, a wealthy number of movies had been screened for the primary week. While Asian movies generally attracted little enthusiasm, curiosity in South Korean movies was larger than in previous years. “Okja,” a US movie made by South Korean director Bong Joon-ho, was the occasion of the yr, making a sensation throughout the pageant’s first week. The movie, which has produced by Netflix, appeared in competitors alongside one other Netflix manufacturing, director Noah Baumbach’s “The Meyerowitz Stories.” The screening of streaming-based works at a global movie pageant with a 70-year custom of emphasizing the theater expertise is a symbolic second exhibiting the methods a conservative establishment is making an attempt new adjustments.

The president of the Cannes Jury, director Pedro Almodovar, drew consideration early on by declaring at a press convention that he “personally [did] not conceive, not solely the Palme d‘Or, [but] another prize being given to a movie and never with the ability to see this movie on an enormous display screen.” A technical glitch throughout the first screening of “Okja”, the place the movie was projected within the incorrect side ratio, additionally made information.

A scene from director Hong Sang-soo’s “The Day After”

With a funds of US$50 million, “Okja” is the story of a friendship between the title character, a large animal produced by means of genetic engineering, and Mi-ja (Ahn Seo-hyun) a rustic woman from Gangwon Province. While the movie takes direct intention at multinational firms utilizing advertising and marketing to decorate up animal abuse, the manufacturing adopts a style type the entire household can get pleasure from, balancing its weighty theme with wild, humorous, and light-hearted motion scenes. Calling the movie a “beautiful household action-adventure,” the Guardian stated, “the digital results are spectacular and the visible pictures lovely.” noting that the widescreen pictures by Darius Khondji, and saying “the digital creation of Okja is itself introduced off with terrific talent.” But whereas the excitement over the movie was robust, the rating within the pageant’s ScreenDaily information was a mediocre 2.three out of four.

Another South Korean movie invited for competitors, director Hong Sang-soo‘s “The Day After,” additionally drew plaudits after its May 22 screening. The story tells of Ah-reum (Kim Min-hee), a publishing firm worker who’s mistakenly considered having an affair together with her married boss Bong-wan (Kwon Hae-hyo). Like “The Day He Arrives” (2011), it’s one other black-and-white providing from Hong. The storyline issues the occasions that befall Ah-reum on her first day of labor, with a deal with the connection amongst her, Bong-wan, his spouse, and his mistress Chang-sook (Kim Sae-byeok). The digital camera humorously follows the volleys of dialogue and reactions happening in a tiny workplace house. The French Liberation newspaper wrote that the movie‘s “modest definition of what artwork is is the rationale it may be anticipated to win the Palme d’Or.” Hong was left teary-eyed by a standing ovation from the viewers after the official screening – seemingly moved all of the extra by the cheers he was receiving at Cannes 5 years after his “In Another Country” (2012). In addition to the competitors, Hong’s “Claire’s Camera” was additionally invited for a particular screening this yr, bringing the director’s complete variety of works proven at Cannes to 10.

Jeong Byeong-gil’s “The Villainess” was additionally given a late-night exhibiting on May 21 as a part of the pageant‘s Midnight Screenings. The movie, which depicts the tumultuous lifetime of Sook-hee (Kim Ok-vin), a ethnically lady from Yanbian, China, skilled from childhood to be a killer, boasts daring, female-centered motion scenes in its first half. The Midnight Screening part – the place director Yeon Sang-ho’s “Train to Busan” was invited for exhibiting final yr – mainly options horror, motion, and different style movies. Many have praised it as a aid from the densely packed 12-day pageant schedule of principally inventive movies. “The Villainess” drew prolonged applause from viewers after ending previous three am. Tying in with the Cannes market, it‘s a response that bodes nicely for the movie’s abroad export prospects. Indeed, “The Villainess” has already carried out nicely on the rating, with gross sales in over 110 international locations so far. Byun Sung-hyun‘s “The Merciless” has additionally been invited for screening within the part.

The pageant is about to finish on May 28 with a ceremony at Grand Theatre Lumiere to award the Palme d’Or and different main prizes. With each Hong and Bong within the competitors, their award prospects are drawing growing consideration.

By Lee Hwa-jung, Cine 21 reporter in Cannes

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