It seemed somewhat telling that the first question from reporters attending the online-only press conference for the 2023 Busan International Film Festival was about the Zoom format itself. Prior to COVID, the press conference, traditionally held the first week of September to announce the main features and participants, was held in person in two locations, Seoul and Busan. The pandemic forced it to go online from one venue, but now that the pandemic is officially over, why still do it that way? asked one journalist. The interim festival director, Nam Dong-chul, answered that the Zoom format was “more reasonable” logistically, since more press people could attend, especially those, like myself, who lived outside of Korea.
I think it’s not unfair, therefore, to approach the press conference from an aesthetic standpoint. Unlike the past two PCs, this one was framed as a middle distance shot, with the two presenters, Nam and the interim managing director, Kang Seung-ah, sitting at the dais some distance apart within the frame. Usually, the presenters are shot as tightly as possible, so the framing here had the effect of making the observer feel as if they were in the actual room where the PC was taking place and sitting some ways away. There was a sense of spatial separation, and it was difficult to gauge the expressions on the two officials’ faces. Since what they were doing was essentially reading the press kit out loud, the event itself seemed to have little meaning. However, there were opening remarks and the Q&A, which ended up revealing perhaps more than what the official pronouncements have done.
For one thing, Nam did not avoid the elephant in the room, which is the scandal that precipitated his and Kang’s elevation to “interim” leadership status. As everyone knows, former executive director, Huh Moon-young, resigned in May after he was accused of sexual harassment, and the festival itself then apologized over “mishandling” the scandal, since it didn’t initially reveal the allegation when it announced that Huh was leaving, thus implying that it wanted to cover up the reason. Sexual harassment in the Korean film industry is an open secret, so the festival said it would investigate the allegations (which Huh denies), but since then the whole administration has been in chaos because co-founder and chairman, Lee Yong-kwan, also quit to take responsibility. With this year’s edition of the festival at risk, the administration named Nam, the lead film programmer, to the director’s post, and Kang to the newly minted managing director job, which is mainly in charge of budgeting and administration. That Kang is a woman is significant since insiders have told the trades that what they are basically raging against is the culture of male cronyism that pervades the Korean film industry, as well as BIFF.
After a brief video rundown of the film highlights of the festival, Nam admitted that the festival was going through a “difficult time,” but that only meant he and his colleagues would have to “work harder than ever” to make the festival a success, “though we shouldn’t get our hopes up.” This unnecessary feint to fatalism may have been a hedge against any future problems that crop up, but he was sure to thank the sponsors and the mayor of Busan for their support. Later, during the Q&A, Kang talked about the budget and how it had been difficult to attract sponsors due to the scandal, so some cuts had to be made. The most obvious result is the lineup, which is much smaller than it was in 2019, before the pandemic: 209 films from 69 countries, though it should be noted that there are 87 World and International Premieres. Another casualty of the budget issue is there will be no BIFF Forum this year, where noted filmmakers hold forth on their work in lecture or interview-style settings.
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