As preparation for my coverage of the 28th Busan International Film Festival, which took place Oct. 4-13, I talked via Zoom to the interim festival director, Nam Dong-chul, who is also the chief programmer for the festival. Nam sort of made it clear that he was not gunning for the permanent title of festival director, and that he was simply filling in so that this year’s event could take place on time. In fact, he was surprisingly frank during our conversation, though perhaps not as frank as he was during the online press conference in early September to announce the selections. In response to a reporter’s question of why BIFF had given the Filmmaker of the Year award to Chow Yun-fat, thus making it two years in a row that a Chinese person was the recipient, Nam said, “Well, he was going to receive it eventually.”

–What’s been the biggest challenge so far this year?

After I took over, I found out we have some problems with the budget and I had to cut funding for almost everything in order to keep the budget in check. It was a big decision. So this year, we have 209 official selections, compared to last year’s 243 films.

–In 2019 it was around 300.

Yes. During the pandemic the official number of selections was less than 200, and then it came back to around 240, but this year around 210. Because it’s a bit late in the process it was not easy to convince the programmers that they had to minimize their selections. It was tough. Also, I had to review all the other programs, like forums and conferences.

–Well, the Forum is gone.

Yes. Also I had to check the invitation list and decide what we could provide to our international guests. I was surprised at how expensive air tickets are. Everything became related to the budget.

–Is it due to lack of sponsorship, or lack of government support?

The funding from the city government was smaller compared to last year. Sponsorship from the private sector was also lower than last year. 

–Is that a reflection of the economic situation?

Yes, it’s related to Korea’s general economic situation. This year, especially, prices have been going  up and private companies are having difficulties with their own finances.

–What about your relationship with Busan? Or even the national government?

The relationship with Busan city is quite good now. They want to support us. However, the economic situation in Busan itself is not so good and that has an effect. It’s the same for the central government. The problem is that after this year, meaning next year, the Korean Film Council says its total budget for international film festivals [in Korea} will be cut by 50 percent.

–That affects all film festivals in Korea.

Yes, they are all in the same situation.

–Which sections of the festival this year do you think warrant special attention?

We prepared three special programs. The first is about Chow Yun-fat, the Asian Filmmaker of the Year. We are showing three of his films, including his newest, One More Chance. The second special program is about Korean-American filmmakers, like Lee Isaac Chung and John Cho, the actor, and Kogonada and Justin Chon. In particular, we will be showing the film Past Lives, which is very strong. I thought because of that film it would be the perfect timing right now to have such a program. Last year, if you remember, we had a special program about new Japanese cinema. Every year we prepare usually three special focus programs, and the third one this year is about Indonesian cinema, which is quite strong now and growing.

–Are there more Chinese films this year than last year?

I think so, because last year it was not easy to get Chinese films due to censorship, which was strict at the time. But this year they are more open. Anyway, we can get more Chinese films this year.

–On the other hand, there are fewer Iranian film.

Yes. The political situation in Iran affects Iranian cinema. We chose only one feature, but there are three documentaries, including two by [former Asian Filmmaker of the Year] Mohsen Makhmalbaf and his daughter, Hana Makhmalbaf. 

–I was disappointed because Busan gives me a good opportunity to see new Iranian cinema, but what about Korean films this year? How was the Panorama section selected?

Usually it consists of films already released domestically and some new mainstream commercial films. 

–But how do you select them, since so many are released during the year?

It’s up to the programmer for Korean cinema. He has to consider many things—whether it’s already been released, or whether the distributor wants to put it in the festival, or maybe the actors don’t want to show up.

–This is the second year for the On Screen section?

Fourth year.

–How important is it for Busan to show OTT [streaming series] content?

Busan is a film festival so our main focus is on film, but we have to follow trends and changes in the industry, so we decided to make a new section about OTT series. Up to now it’s been very successful. The audience likes it very much and the reaction of the industry has been impressive. 

–I’ve talked to Korean film people who are now going over to drama series because they are so popular worldwide. Does this popularity have any affect on Busan as a film festival?

In a certain way. It is not easy to find good commercial films nowadays. Many industry people are trying to make drama series, and not just directors, but all industry professionals.

–Busan always a good balance between commercial and indie films. Do you keep that in mind?

Yes, it is very important for Busan. We always try to strike a balance between the independent and the commercial sides. It’s why we have the Panorama and Vision categories in the Korea Cinema Now section. We are trying to support new independent filmmakers, so we have so many awards in various sections to support them.

–Are there any regions and countries other than Indonesia this year that you would recommend?

I think Japanese cinema right now is quite strong. Many experienced filmmakers made some new films and there are some exciting new directors. In Korea, until last year, the popularity of Japanese cinema was not so stong, but from the end of last year, with the release of the anime feature Slam Dunk and some other films, Japanese cinema is getting much better as far as Korean audiences are concerned. 

–Also there’s no Korean Retrospective this year. Is that because of the budget, too?

No. We started planning this year’s lineup almost a year ago. The only retrospective movie we have is Mist, which features the late actor Yun Jung-hee, who is being honored with two films. It’s not a big event, just a retrospective for her.

–Will the Retrospective section return as a regular feature?

I don’t think so. From the beginning of the festival we had the Retrospective section every year, covering Korean films from the 1930s, 40s, up until the 1970s. After that I’m not sure if we have to keep up this program every year. Before 1980, Korean cinema was mostly hidden from the world, but after 1980 it was discovered, and many actors and directors became well-known worldwide. We should consider that fact. 

–Is Busan’s relationship to the overall industry changing?

Actually, I think one of the problems in terms of financing is that the Korean film industry is not so good right now. Big distributors like CJ, Lotte, Megabox are having a hard time right now because big budget commercial films are no longer as profitable as they used to be. 

–There was also that scandal about inflating attendance numbers.

The financial situation in the Korean film industry is not good. Only Netflix is profitable these days. That kind of situation affects Busan directly.

–Busan has always been the world showcase for Asian films, even if the major Asian filmmakers premiere their works in Europe and North America. Do you still see Busan as the main showcase for Asian films?

It’s our main goal. We have to discover new territories and emerging works in Asian cinema. This year we have three Bangladesh films, which is very impressive. No one expected three features from Bangladesh. And from Mongolia two films. Only Busan can do that.

–This year you’re also the interim festival director. Will they announce a permanent director any time soon?

I’m not sure, but until the end of the year maybe not, so I expect at the beginning of next year or during the first half something will happen.

–Would you consider staying on?

No. I would like to be the program director.

–Are there any changes to the festival you would like to see?

The most important thing is the main selections. We could add some side sections, but we still have to focus on the main selections and we should care more about the films we choose. The total number is down a bit, so we have to select the films well.

–You  said at the press conference you were still negotiating for more international guests. Any new ones since then?

Uh, no. Actually, we are still negotiating, so no one in particular. Air fares are still a big problem.