Pusan 2007

Critics' Prize: "Red Awn"

This year's Pusan International Film Festival was bigger than its eleven predecessors — with 274 films from 64 countries — while still maintaining its pre-eminence among festivals in promoting, discovering and rediscovering Asian films. Bigger does not necessarily mean better, and there was some criticism in the local press (and in "Variety") about the choices and organization — there were delays, last-minute cancellations and a shortage of stars and directors. Apparently, Ennio Morricone complained about the way he was treated on stage at the opening rain-sodden ceremony. (The courteous festival director Kim Dong-Ho even made a public apology for some of the mishaps.)
    All this passed the FIPRESCI jury by. We concentrated on the "New Currents" competition of new first or second Asian features, the majority of which were world premieres. All our screenings in the multiplex Megabox theatres started on time, and were packed with the most well-behaved audiences on earth. Among the eleven films we saw, there were at least five worthy of consideration for our award: Flowers in the Pocket (Malaysia), Tribe (Philippines), Wonderful Town (Thailand), Life Track (China-Korea) and the eventual winner, Red Awn (China). Not a bad average.
    We also had time to sample the films in the fascinating Korean Cinema Retrospective, which included the earliest extant Korean film, Sweet Dream (1936). The quality of the new Korean films this year was considered less good. No complaints about the food, however. Especially the dinner we had at a Japanese-style restaurant where we were kindly invited by our Korean FIPRESCI colleagues. (Ronald Bergan)

The FIPRESCI Prize went to The Red Awn (Hongse Kangbeiyin) by Shangjun Cai (China).
Details of the Prize
Pusan Film Festival, Korea, October 4-12, 2007, www.piff.org

Reports
Red Harvest: Son Reaps What Father Sows. The Red Awn, a Chinese first feature by Cai Shangjuan which won the Critics' Prize, impressed Harri Römpötti by its splendid cinematography, and both the personal and social aspects of the story, which he sets in the context of contemporary Chinese cinema.
I (Eye) Am a Camera. Ronald Bergan was hypnotized by the exchange of meaningful glances of the two protagonists in Guang Hao Jin's Life Track, and considers that most of the best films are about the interchange between the way characters look at each other and at the audience.
Senses of Cinema. Diego Brodersen analyses "one of the most exciting films in the impressive 'New Currents' competition section" featuring first and second Asian films: Aditya Assarat's Wonderful Town, which shows a director in command of every subtle detail underpinning an apparently simple plot.
Korean Cinema Retrospective. Cho Hye-jung followed the fascinating and rare Korean Cinema Retrospective, revealing how much these films reflected Korean society and the desires and fears of the Korean people during the years under Japanese rule and the early days of Independence.
A Window on Asian Cinema. Nirmal Dhar absorbs the rich variety of Asian cinema on display at the Pusan International Festival.

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