Song Kang-Ho 송강호 [“Broker”, “Emergency Declaration”]

Helena · May 28, 2022

https://www.screendaily.com/news/park-chan-wooks-decision-to-leave-tops-screens-final-2022-cannes-jury-grid/5171289.article
Park Chan-wook’s ‘Decision To Leave’ tops Screen’s final 2022 Cannes jury grid

BY MELISSA KASULE | 28 MAY 2022

Park Chan-wook’s Decision To Leave finishes on top of Screen’s Cannes jury grid with an average of 3.2 after Kelly Reichardt’s Showing Up and Léonor Serraille’s Mother And Son fail to match its score.

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Reichardt’s Competition debut Showing Up landed in third place with an average of 2.7 after receiving five scores of three (good) from our jurors. The film, starring Michelle Williams, centres on a New York artist preparing for a show who must balance professional demands with the dramas of her personal circle. Time Magazine’s Stephanie Zacharek awarded the film its only top score of four (excellent) but Positif’s Michel Client gave it a one (poor).

Serraille’s 1980s set drama Mother And Son, following a woman from Africa settling with her two young sons in the Paris banlieue, averaged at 2.4. It scored four threes and three twos (average), with one four from Zacharek. Two ones from Meduza’s Anton Dolin and The Paper’s Wang Muyan dragged down the average. The French director previously won the Cannes’ Camera d’Or in 2017 with her debut feature Montparnasse Bienvenue (aka Jeune Femme) which screened in Un Certain Regard.

Decision To Leave’s 3.2 average is below the 3.5 scored by the past two grid winners; Ryusuke Hamaguchi’s Drive My Car in 2021, and Bong Joon Ho’s Parasite in 2019. Whilst Lee Chang-dong’s Burning score of 3.8 in 2018 remains the record holder. It marks the fourth year running an Asian director has taken the win on Screen’s Cannes jury grid.

Runner-up is James Gray’s Armageddon Time with 2.8, whilst Jerzy Skolimowski’s EO and Jean-Pierre Dardenne and Luc Dardenne’s Tori and Lokita join Showing Up in third place with 2.7.

On the other end of the grid, Valeria Bruni Tedeschi’s Forever Young takes last place with this year’s lowest score of 1.8. Hirokazu Kore-eda’s Broker and Claire Denis’ Stars At Noon are slightly ahead with 1.9.

The average score across all titles on this year’s grid comes out as 2.4, between ‘average’ and ‘good’, higher than last year’s 2.2.

Unfortunately, one of our jurors, Korydor’s Nataliia Serebriakova had to withdraw from Screen’s Cannes jury grid due to personal circumstances, Screen is grateful for her early contributions.

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https://www.hollywoodreporter.com/movies/movie-news/cannes-2022-festival-prizes-analysis-1235154903/
Cannes 2022: What and Who Will Take Home Festival Prizes?

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THR's awards columnist previews Saturday's closing ceremony.

BY SCOTT FEINBERG | MAY 28, 2022 7:39AM

CLOSE, DECISION TO LEAVE, TRIANGLE OF SADNESS, TORI AND LOKITA and R.M.N. COURTESY OF CANNES FILM FESTIVAL (5)

The 75th Cannes Film Festival will come to a close on Saturday at 8:30 p.m. local time with a closing ceremony at which prizes will be dished out to several of the 21 films that played in competition. Unlike some years, there are no runaway favorites for any of 2022’s most coveted honors, which are being decided by a jury comprised of Asghar Farhadi, Rebecca Hall, Vincent Lindon (jury president), Ladj Ly, Jeff Nichols, Deepika Padukone, Noomi Rapace, Joachim Trier and Jasmine Trinca. So I thought I would offer a bit of informed speculation about how those might pan out.

PALME D’OR AND GRAND PRIZE

It’s hard to imagine that Belgian filmmaker Lukas Dhont’s Close, a deeply affecting portrayal of a friendship between two young boys who may be gay, won’t walk away with the fest’s first or second prize for best film. It was certainly the best film I saw at this year’s fest, and A24 was wise to snag its U.S. distribution rights hours before it premiered. Dhont, who is just 30 and would be one of the youngest-ever winners of a top Cannes award, unveiled his one prior feature in Cannes four years ago: Girl, the story of a trans youngster, was recognized with the Caméra d’Or for best first feature and the Queer Palm en route to being selected as the Belgian entry for the best international feature Oscar. I suspect Close will end up representing the country at the Oscars, too.

I’d also keep an eye on the neo-noir Decision to Leave (which MUBI will distribute in the U.S.) from South Korean master Park Chan-wook, who won the Grand Prize in 2004 for Oldboy (after jury president Quentin Tarantino unsuccessfully fought for him to receive the Palme), as well as four titles from past Palme winners.

The Belgian brothers Jean-Pierre Dardenne and Luc Dardenne, my favorite filmmakers, have twice taken home Cannes’ highest honor — for 1999’s Rosetta and 2005’s L’Enfant — and are likely in the mix for Tori and Lokita, which could make them the first filmmakers ever to pull off a Palme hat-trick. (Tori and Lokita is still seeking U.S. distribution, perhaps because it is heartbreakingly bleak.) Their film, like another top prospect, R.M.N. from Cristian Mungiu (IFC), the Romanian auteur who won 15 years ago for 4 Months, 3 Weeks and 2 Days, centers on the plight of refugees who come to their home countries seeking a better life.

Meanwhile, Ruben Ostlund, the Swede who won for 2017’s The Square, is back in contention for another dark comedy, Triangle of Sadness (acquired during the fest by Neon for U.S. distribution), which sends up the rich and those who cater to them or desperately want to join their ranks. It may ultimately prove a bit too long (at 149 minutes) and polarizing to land a top prize.

And Japan’s Hirokazu Kore-eda, a winner for 2018’s Shoplifters, should not be discounted for Broker (also Neon), another project about social outcasts who come together to form an unconventional family, this time in South Korea. It received a fest-best 12-minute standing ovation (matched only by the one accorded to Baz Luhrmann’s out-of-competition Elvis).

It seems unlikely that a film from a North American and/or female filmmaker will make the cut. Canadian David Cronenberg’s return to body-horror Crimes of the Future (Neon) and American James Gray’s autobiographical Armageddon Time (Focus) both proved rather divisive. And of the five female-directed titles in competition, only one went over somewhat well, American Kelly Reichardt and Michelle Williams’ reunion Showing Up (A24) — although the legendary Frenchwoman Claire Denis, who had a film in competition for only the second time, certainly has many admirers among her peers and cannot be totally ruled out for Stars at Noon (A24).

And how’s this for a wild-card possibility: EO (still seeking U.S. distribution), the story of a donkey in a circus (inspired by Robert Bresson’s 1966 film Au Hasard Balthazar), from veteran Polish filmmaker Jerzy Skolimowski.

BEST DIRECTOR

It’s hard to game out Cannes juries, as they spread their prizes around as much as possible. So if, say, Dhont and Park’s films are awarded the best film prizes, then that takes their filmmakers out of the running for best director.

One can try to psychoanalyze this year’s jurors to figure out what/who they would most likely connect with — for instance, one could argue that Farhadi has made films that pose moral questions like Tori and Lokita and others from the Dardennes (who were awarded best director in 2019 for Young Ahmed); Trier’s work tends to be a bit eccentric like Ostlund’s Triangle of Sadness; and Nichols has made films about young people coming of age, not unlike Gray’s Armageddon Time. But there is, of course, no guarantee that filmmakers will vote for films that are like their own.

Another consideration: are jurors swayed when filmmakers contextualize their films in remarks inside the Palais after their film’s premiere? If so, R.M.N.’s Mungiu (who won this award for 2016’s Graduation) may have helped his cause with his emotional remarks.

If we were talking about the Oscars, there would be a greater likelihood of the best director prize going to someone as a sort of recognition of career achievement — perhaps Crimes of the Future’s Cronenberg, who has had a half-dozen films at the fest prior to Crimes, but only won something once (Crash took home a jury prize in 1996) and would seem ripe for recognition; or 84-year-old Skolimowski, who has now had eight films at the fest over 50 years with only a special jury prize in 1978 and a best screenplay prize in 1982 to show for it.

But Cannes juries tend not to operate that way, opting instead to reward people in the prime of their career for deeply personal passion projects, which is why I wouldn’t rule out Armageddon Time’s Gray, Triangle of Sadness’ Ostlund or Broker’s Kore-eda.

BEST ACTOR

Cannes juries not infrequently present this award to costars, which is why one cannot rule out the boys from Close, Eden Dambrine and Gustav De Waele. But if they are off the table because their film has received a higher honor, then perhaps another young performer, Tori and Lokita’s Pablo Schils, has a chance.

However, child actor winners are actually rather rare, which is why there’s probably a better chance of this award going to Mehdi Bajestani, who plays a serial killer in Iranian filmmaker Ali Abbasi’s Holy Spider (Utopia); Crimes of the Future’s Viggo Mortensen; Marin Grigore, the imperfect husband and father of R.M.N.; or a favorite of several festivalgoers I spoke with, Fares Fares for his regular collaborator Tarik Saleh’s political thriller Boy from Heaven (still seeking U.S. distribution).

BEST ACTRESS

I wouldn’t count out Crimes of the Future star and hometown favorite Lea Seydoux (also great in this year’s Directors’ Fortnight selection One Fine Morning), who is one of only two performers who have won the Palme but who has never won the fest’s best actress prize, which has gone to plenty of other Frenchwomen in recent years.

Romanian actress Judith State, who plays a woman dealing with trouble at work and at home in R.M.N., is certainly a worthy option, as well.

But the smart money seems to be divided between Tori and Lokita’s first-time performer Mbundu Joely; Triangle of Sadness’ “I’m the captain now” scene-stealer Dolly De Leon; and Decision to Leave’s ageless femme fatale Tang Wei.

BEST SCREENPLAY

Contenders who have previously won this prize and could again include EO’s Skolimowski (1982’s Moonlighting), Tori and Lokita’s Dardennes (2008’s Lorna’s Silence) and R.M.N.’s Mungiu (2012’s Beyond the Hills). Armageddon Time’s Gray and Crimes of the Future’s Cronenberg could certainly win for scripts, which are deeply personal in different ways. But this feels like the likeliest place for the jury to recognize the off-the-wall creativity of Ostlund’s Triangle of Sadness.

SHOT-IN-THE-DARK PREDICTIONS
Palme d’Or: Close (Lukas Dhont)
Grand Prize: Tori and Lokita (Jean-Pierre Dardenne & Luc Dardenne)
Best Director: Hirokazu Kore-eda (Broker)
Best Actor: Fares Fares (Boy from Heaven)
Best Actress: Tang Wei (Decision to Leave)
Best Screenplay: Triangle of Sadness (Ruben Ostlund)
Jury Prize: EO (Jerzy Skolimowski)

Helena · May 28, 2022

Spoiler

https://www.hollywoodreporter.com/movies/movie-news/cannes-2022-broker-wins-cannes-ecumenical-jury-award-for-best-film-1235155758/

Cannes: ‘Broker’ Wins Ecumenical Jury Award for Best Film

Hirokazu Kore-eda’s Korean-language drama, about a baby "broker" looking for an alternative family for an abandoned child, is also a favorite for tonight's Palme d'Or.

BY SCOTT ROXBOROUGH | MAY 28, 2022 6:30AM

From left: Song Kang-ho and Gang Dong-won in 'Broker' | COURTESY OF ZIP CINEMA & CJ ENM

Hirokazu Kore-eda’s Broker, a Korean-language drama about an abandoned child, illegal baby brokers and makeshift families, has won the Ecumenical jury award for best film at the 2022 Cannes Film Festival.

Kore-eda, who won Cannes’ top prize, the Palme d’Or, in 2018 for Shoplifters, makes his first foray into Korean cinema with Broker, which features Parasite star Song Kang-ho as the “broker,” a loveable rogue who pinches an infant left by a desperate mother at a Busan Family Church’s “baby box” and tries to find an alternative family for her. Together with a fellow broker, played by Gang Dong-won, they initially try and sell the baby. But when the child’s mother, played by Lee Ji-eun, returns, a very different story unfolds.

“The film shows, in an intimate way, how family can be family without blood ties,” the Ecumenical jury said in a statement. “Lives and souls are being protected by a secure environment created by the three adults and an orphan boy around the baby, despite the many different tormented backgrounds.”

The Ecumenical jury, made up of members of Christian film organizations Interfilm (Protestant) and Signis (Catholic) selects its best film from Cannes competition that “best touches the spiritual dimension of our existence.” The jury, which has been awarding prizes in Cannes since 1974, has a strong track record for picking films that go on to win top prizes at the festival’s main event. Last year’s Ecumenical jury winner, Ryûsuke Hamaguchi’s Drive My Car, won best screenplay honors in Cannes last year and followed up with an Oscar for best international film.

Helena · May 28, 2022

Closing Ceremony Red Carpet - The 75th Annual Cannes Film Festival

Photos -> https://www.gettyimages.com/search/2/image?events=775810171

PhotoCredits: [ photographers on images via GettyImages ]

CANNES, FRANCE - MAY 28: (L-R) Director Hirokazu Koreeda, Lee Joo-young, Lee Ji-eun, Song Kang-ho and Gang Dong-won of "Broker" attend the closing ceremony red carpet for the 75th annual Cannes film festival at Palais des Festivals on May 28, 2022 in Cannes, France.

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https://www.festival-cannes.com/en/festival/actualites/photos/the-75th-festival-de-cannes-winners-list
AWARDS 28.05.22 . 11:30 PM | UPDATE: 29.05.22 . 02:51 AM
The 75th Festival de Cannes winners' list

After 11 days of an exceptional edition, the Jury of the 75th Festival de Cannes, chaired by French actor Vincent Lindon, surrounded by Iranian director Asghar Farhadi, British-American actress and director Rebecca Hall, French director Ladj Ly, American director Jeff Nichols, Indian actress Deepika Padukone, Swedish actress Noomi Rapace, Norwegian director Joachim Trier and Italian actress and director Jasmine Trinca, presented its winners' list among the 21 films presented in Competition this year.

Jury and Award Winners – Closing Ceremony 2022 © Valery Hache / AFP

Diane Kruger, Song Kang-ho - BROKER, Award for Best Actor © Stephane Cardinale - Corbis / GettyImages

Helena · May 28, 2022

Closing Ceremony - The 75th Annual Cannes Film Festival

=> Best Actor winner Song Kang-ho hugged/congratulated by actor Gang Dong-won (co-star in ‘Secret Reunion’, ‘Broker’), director Hirokazu Kore-eda (‘Broker’), director Park Chan-wook (‘JSA’, ‘Sympathy for Mr. Vengeance’, ‘Thirst’), actor Park Hae-il (co-star in ‘Memories of Murder’, ‘The Host’), producer Lee Eugene.

Photos-> https://www.gettyimages.com/search/2/image?events=775810172

PhotoCredits: [ photographers on images via GettyImages ]

Spoiler

[Koreatimes] Song Kang-ho, centre, rises to receive the Best Actor award for 'Broker,' while being congratulated by director Hirokazu Kore-eda, left and Gang Dong-won during the awards ceremony of the 75th Cannes International Film Festival in southern France, May 28. AP-Yonhap

Editing

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https://www.france24.com/en/live-news/20220528-south-korea-s-song-kang-ho-wins-best-actor-prize-in-cannes
South Korea's Song Kang-ho wins best actor prize in Cannes

Song Kang-Ho won the best actor award at Cannes [CHRISTOPHE SIMON / AFP]

Cannes (France) (AFP) – South Korea's Song Kang-ho clinched the best actor prize in Cannes on Saturday for his role in "Broker" about a woman dropping off an unwanted child in a "baby box" for adoption.

Song, who also starred in the Oscar- and Cannes-winning "Parasite", plays a good-hearted "broker" trying to sell the infant to a loving family. It is Japanese director Hirokazu Kore-eda's first Korean-language feature. "I am very happy for my whole family," he said as he accepted the trophy at the gala ceremony on the French Riviera.

An actor who has become something of a national treasure, Song has starred in several of the divided country's greatest movies. Song, 55, has made four films with "Parasite" director Bong Joon-ho including the 2006 monster flick "The Host" and Bong's first English-language film "Snowpiercer", both of which were box office and critical smashes.

Starting his career on stage, Song made his first film appearance in 1996 in now-acclaimed director Hong Sang-soo's debut movie, "The Day a Pig Fell into a Wall". Since then, he has appeared in more than 30 films and worked with top South Korean filmmakers including Park Chan-wook, Kang Je-gyu and Lee Chang-dong.

Kore-eda won the Palme d'Or in 2018 for his touching family tale "Shoplifters".

British film magazine Screen called "Broker" "a sensitive and compassionate look at the market for unwanted children" while US movie website IndieWire said it was a "bittersweet and complex family drama".

Helena · May 28, 2022

https://en.yna.co.kr/view/AEN20220528002753315
Park Chan-wook wins Best Director, Song Kang-ho gets Best Actor at Cannes

By Kim Boram / 2022-05-29 08:07:26

CANNES, France, May 28 (Yonhap) -- South Koreans Park Chan-wook and Song Kang-ho were named Best Director and Best Actor, respectively, at this year's Cannes Film Festival on Saturday. It is the first time in the country's cinema history that Korean films have taken home two titles at a time at the world's most prestigious film festival.

▲ In this AFP photo, South Korean director Park Chan-wook poses for the camera after he won Best Director for "Decision to Leave" at the closing ceremony of the 75th Cannes Film Festival in Cannes, France, on May 28, 2022. (Yonhap)

  At the awarding ceremony for the 75th edition of the festival held at Palais Lumiere in Cannes, Park received the prize given to best film director for his romance "Decision to Leave." It is his third prize given by Cannes, following the Grand Prix, the second-highest prize at the festival, for his thriller "Oldboy" in 2003 and the Jury Prize, the No. 3 honor, for the horror "Thirst" in 2009. And Park became the second South Korean director to win in the category, following renowned filmmaker Im Kwon-taek for the historical drama "Chihwaseon" in 2002. 

 In his acceptance speech, Park praised the global film industry for overcoming the yearslong COVID-19 pandemic. "Fans didn't visit movie theaters, but it was the time that we were aware of the value of cinema," he said. "As we have hope and power to overcome this pandemic, I believe that we cineaste will keep theaters and cinema for good." And he did not forget to thank his main actors -- Park Hae-il and Tang Wei -- saying "Most of all, my love to Park and Tang is beyond expression."

  Starring Chinese actress Tang of "Lust, Caution" (2007) and Korean actor Park of "Memories of Murder" (2003), "Decision to Leave" is about a detective who suspects a mysterious widow in a murder case and later becomes interested in her. 

▲ In this AFP photo, South Korean actor Song Kang-ho (2nd from L) celebrates his Best Actor prize for "Broker" at the 75th Cannes Film Festival in Cannes, France, on May 28, 2022. (Yonhap)

 Song took home the best actor prize for his role of a baby broker in the film written and directed by the Cannes-winning Japanese filmmaker Hirokazu Kore-eda. It is the first title that he earned from Cannes, although he has starred in several Cannes-winning titles, including Bong Joon-ho's "Parasite" (2019) and Park Chan-wook's "Thirst" (2009). He served as a jury member at last year's Cannes. He also became the first South Korean male actor winning an acting prize at Cannes. Jeon Do-yeon was awarded Best Actress for her role in the drama "Secret Sunshine" in 2007, in which Song also starred. 

 "I'm so grateful and honored. I would like to thank director Kore-eda, who is a great artist," Song said on the stage. "I also want to share this gratitude and honor with our cast members of Kang Dong-won, Lee Ji-eun, Bae Doo-na and Lee Joo-young." 

 "Broker," Kore-eda's first Korean-language project, depicts the relationships of characters formed through a baby box, where people anonymously drop off newborns that they can't raise. Song plays Sang-hyun, who steals an unattended infant left by its parents at a baby box and sells it to parents who need babies.

  Director Park said he and Song received the titles as they attended the Cannes festival with different films. The festival does not grant Best Director and Best Actor prizes to one piece. "If I and Song came to Cannes with one film, one of us would have missed a prize," he told Korean reporters after the closing ceremony. "As we came here separately, we took separate trophies at the same time."
  

He also celebrated Song's first acting title at Cannes after decades of a silver screen career since his debut film "The Day a Pig Fell into the Well" (1996). The two worked together in films like "Thirst," "Sympathy for Mr. Vengeance" (2002) and "Joint Security Area" (2000). "I couldn't help running to him," said Park, who rushed to Song and hugged him after his name was announced for the winner of best male actor. "He has appeared in many good films, and it is time for him to win the prize." He asked Song to give him a chance to do a new project together.  

Song, who became the third Asian male actor to win an acting prize at Cannes after Hong Kong's Leung Chiu Wai for "In The Mood for Love" in 2000 and Japan's Yuya Yagira for "Nobody Knows" in 2004, thanked the director for his enthusiastic celebration. {H: He’s the 4th. China’s Ge You won for ‘To Live’ in 1994} "I'm so moved as an actor who has worked with director Park and joined hands with him in winning a prize with 'Thirst,'" he said. "I'll not forget the moment when he ran to me and embraced me." He said he has not acted in order to win a title but made constant efforts to do good films, which have helped him attend international film festivals and receive a prize.

Spoiler

Cannes - Best Actor
1994: China’s Ge You for ‘To Live’ (Director: Zhang Yimou)
2000: Hong Kong’s Tony Leung Chiu-wai for ‘In The Mood for Love‘ (Director: Wong Kar-wai)
2004: Japan’s Yūya Yagira for ‘Nobody Knows’ (Director: Hirokazu Kore-eda)
2022: South Korea’s Song Kang-ho for ‘Broker’ (Director: Hirokazu Kore-eda)

Cannes - Best Actress
2004: Hong Kong’s Maggie Cheung for ‘Clean’ (Director: Olivier Assayas)
2007: South Korea’s Jeon Do-yeon for ‘Secret Sunshine’ (Director: Lee Chang-dong)

Spoiler

▲ Director Park Chan-wook (L) of "Decision to Leave" and actor Song Kang-ho of "Broker" pose for photos after winning Best Director and Best Actor, respectively, at the 75th Cannes Film Festival in Cannes, France, on May 28, 2022. (Yonhap)

  Meanwhile, the top honor of Palme d'Or went to "Triangle of Sadness" directed by Ruben Ostlund, and the Grand Prix was shared by "Close" by Lukas Dhont and "Stars At Noon" by Claire Denis. Best Screenplay was awarded to Tarik Saleh who wrote and directed "Boy from Heaven," while Zar Amir Ebrahimi won the Best Actress prize. Jerzy Skolimowski's "EO" and Felix Van Groeningen and Charlotte Vandermeersch's "The Eight Mountains" tied for the Jury Prize. (END) 

Helena · May 28, 2022

Palme D'Or Winner Photocall - The 75th Annual Cannes Film Festival

Video-> https://www.festival-cannes.com/en/films/broker#vid=23367

Photos-> https://www.gettyimages.com/search/2/image?events=775810173

PhotoCredits: [ photographers on images via GettyImages ]

South Korean actor Song Kang-Ho poses with his trophy during a photocall after he won the Best Actor Prize for his part in "Broker (Les Bonnes Etoiles)" during the 75th edition of the Cannes Film Festival in Cannes, southern France, on May 28, 2022.

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Palme D'Or Winner Press Conference - The 75th Annual Cannes Film Festival

Video-> https://www.festival-cannes.com/en/films/broker#vid=23368
Photos-> https://www.gettyimages.com/search/2/image?events=775810174

PhotoCredits: [ photographers on images via GettyImages ]

CANNES, FRANCE - MAY 28: Song Kang-Ho, who won the Best Actor Palme d'Or Award for the movie 'Broker' speaks at the Palme D'or winner press conference during the 75th annual Cannes film festival at Palais des Festivals on May 28, 2022 in Cannes, France.

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Helena · May 29, 2022

https://en.yna.co.kr/view/AEN20220529000400315
(News Focus) Song Kang-ho wins best actor on his 7th visit to Cannes

By sshim@yna.co.kr | May 29, 2022

SEOUL, May 29 (Yonhap) -- Song Kang-ho, an iconic actor in South Korea, rose to global fame by winning best actor at this year's Cannes Film Festival on Saturday (French time).

He won the honor for his role in the Korean flick "Broker" during his seventh visit to the film festival. He became the first Korean actor ever to win an award at Cannes after Jeon Do-yeon received best actress for her role in director Lee Chang-dong's film "Secret Sunshine" in 2007.

He also is the third Asian winner of the Cannes best actor prize after Hong Kong's Leung Chiu Wai and Japan's Yuya Yagira won respectively for "In The Mood for Love" in 2000 and "Nobody Knows" in 2004. {H: He’s the 4th; China’s Ge You won for ‘To Live’ in 1994.}

Spoiler

Cannes - Best Actor
1994: China’s Ge You for ‘To Live’ (Director: Zhang Yimou)
2000: Hong Kong’s Tony Leung Chiu-wai for ‘In The Mood for Love‘ (Director: Wong Kar-wai)
2004: Japan’s Yūya Yagira for ‘Nobody Knows’ (Director: Hirokazu Kore-eda)
2022: South Korea’s Song Kang-ho for ‘Broker’ (Director: Hirokazu Kore-eda)

Cannes - Best Actress
2004: Hong Kong’s Maggie Cheung for ‘Clean’ (Director: Olivier Assayas)
2007: South Korea’s Jeon Do-yeon for ‘Secret Sunshine’ (Director: Lee Chang-dong)

In this AFP photo, South Korean actor Song Kang-Ho poses for the camera after he won best actor for his role in "Broker" at the closing ceremony of the 75th Cannes Film Festival in Cannes, France, on May 28, 2022. (Yonhap)

Song had been mentioned as one of the strongest candidates for the best actor award well before the start of the Cannes festival this year.

He previously visited the festival six times for films including Bong Joon-ho's "The Host," Lee Chang-dong's "Secret Sunshine," Kim Jee-woon's "The Good, The Bad, The Weird," Park Chan-wook's "Thirst" and Bong's "Parasite."

In 2019, in particular, when "Parasite" won the Palme d'Or at Cannes, the film's lead actor Song was singled out as a strong candidate for best actor by director Alejandro Gonzalez Inarritu who was head of the jury. But it was reported that the festival's rule that the Palme d'Or and Best Actor cannot go to the same film forbade him from winning the award.

In this Reuters photo, director Hirokazu Kore-eda (1st from R) of "Broker" and the film's cast members Song Kang-ho (2nd from L), Lee Ji-eun, Lee Joo-young and Kang Dong-won pose for the camera at the 75th Cannes Film Festival in Cannes, France, on May 28, 2022. (Yonhap)

"Broker," which earned him best actor this year, was written and directed by the Cannes-winning Japanese filmmaker Hirokazu Kore-eda as his first Korean-language project. It depicts the relationships of characters formed through a baby box, where people anonymously drop off newborns that they can't raise.

Kore-eda had picked Song as the Korean actor he wants to work with the most, long before casting him for the role of Sang-hyun, who steals an unattended infant left by its parents at a baby box and sells it to parents who need babies.

Song, who started as a member of Theater Yeonwoo, a local theater group, in 1991, made a debut in the film industry with a role in "The Day a Pig Fell into the Well" (1996) directed by Hong Sang-soo.

He rose to national fame for his acclaimed role as a gangster training a group of young recruits in "No. 3" (1997). He later appeared in a series of films acclaimed by moviegoers and critics alike -- "Swiri" (2000), "Joint Security Area" (2000), "Memories of Murder" (2003), "The Host" (2006) and "A Taxi Driver (2017)." He also rose to international prominence for his performances in "Snowpiercer" (2013) and "Parasite" (2019).

South Korean director Bong Joon-ho (L) and actor Song Kang-ho show off the Palme d'Or award during a meeting with reporters at Incheon International Airport, west of Seoul, on May 27, 2019, upon returning home from Cannes, France. Bong won the award for his film "Parasite" at the 72nd edition of the Cannes Film Festival the previous day. (Yonhap)

After "Parasite" triumphed at Cannes in 2019, Song became the first Asian actor to win the Excellence Award at the Locarno International Film Festival in Switzerland in the same year.

Appearing in about 40 films, he has played a wide spectrum of roles ranging from a detective in an old-fashioned investigative style ("Memories of Murder") and a working-class father who desperately struggles to save his daughter from a monster ("The Host") to the designer of a giant train where the only survivors of a global, apocalyptic Ice Age are on board ("Snowpiercer").

His eclectic acting style has appealed to many renowned South Korean filmmakers, including Lee Chang-dong, Park Chan-wook and Bong Joon-ho.

Song, in particular, is known to have a close relationship with Bong.

When he went up onstage to receive the top honor at Cannes in 2019, Bong attributed the honor to Song, saying, "I couldn't shoot a scene without the greatest actor, Song Kang-ho."  (END)

Helena · May 29, 2022

https://en.yna.co.kr/view/AEN20220529000200315
(News Focus) S. Korean cinema comes up with successful collections of awards from renowned film Fests

By Kim Boram (brk@yna.co.kr) | May 29, 2022

SEOUL, May 29 (Yonhap) -- At this year's Cannes Film Festival that closed Saturday (French time), South Korea collected two titles -- Best Director for Park Chan-wook of "Decision to Leave" and Best Actor for Song Kang-ho of "Broker." It is Park's third prize given by Cannes out of his four competition entries, while Song received his first Cannes' honor after visiting the festival seven times. The two simultaneous prizes at Cannes this year made the presence of Korean cinema felt strongly on the global film scene again following Bong Joon-ho's "Parasite" awarded the highest honor of Palme d'Or in 2019.

In this Reuters photo. South Korean director poses after winning Best Director for the film "Decision to Leave" at the 75th Cannes Film Festival in Cannes, France, on May 28, 2022. (Yonhap)

In this AP photo, South Korean actor Song Kang-ho poses after winning Best Actor for the film "Broker" at the 75th Cannes Film Festival in Cannes, France, on May 28, 2022. (Yonhap)

The country's filmmakers started to knock on the door of the French film festival in 1984, when Lee Doo-yong's historical drama "Spinning Wheel" was played in the Un Certain Regard sidebar.

In 2002, renowned director Im Kwon-taek took the best director award with "Chihwaseon," which features a 19th-century Korean painter who changed the direction of Korean art, bringing home the nation's first Cannes' official trophy.

Two years later, Cannes' second-highest honor -- the Grand Prix -- went to Park's "Oldboy," helping the director rise to worldwide stardom. He also collected the Jury Prize, the third-highest honor at the French festival, for his 2009 horror movie "Thirst," becoming one of the most beloved directors at Cannes.

In 2007, Cannes granted Jeon Do-yeon the best actress award for her performance in "Secret Sunshine," while director Lee Chang-dong took home the best screenplay award in 2010 for his drama "Poetry."

In this Reuters photo, South Korean director Bong Joon-ho reacts after winning the Palme d'Or award for "Parasite" at the closing ceremony of the 72nd Cannes Film Festival in Cannes, southern France, on May 25, 2019. (Yonhap)

Apart from their success in Cannes, meanwhile, South Korean films have fared even better at the Venice International Film Festival. Back in 1987, the best actress award was given to Kang Soo-youn for her leading role in "The Surrogate Woman," directed by Im Kwon-taek. Lee Chang-dong's "Oasis" and Kim Ki-duk's "3-Iron" won the Silver Lion for best direction in 2002 and 2004, respectively. Finally, Kim made history when his drama "Pieta" won the Golden Lion for best movie at the 69th Venice Film Festival in 2012, becoming the first Korean film to attain a top prize from any of the world's three largest film festivals.

South Korean flicks have also made their presence felt at the Berlin International Film Festival. Kim Ki-duk's "Samaritan Girl" earned the Silver Bear prize for best director at the 2004 festival, while Park Chan-wook won the Alfred Bauer Prize for his 2007 romantic comedy "I'm a Cyborg, But That's OK." The festival presented the best actress award to Kim Min-hee for her role in "On the Beach at Night Alone" in 2017. (END)

Helena · May 29, 2022

http://www.koreaherald.com/view.php?ud=20220529000153
[Newsmaker] Song Kang-ho, prolific and versatile actor

By Jie Ye-eun (yeeun@heraldcorp.com) | May 29, 2022

South Korean actor Song Kang-ho of “Broker” poses for photos after winning the award for best actor at the 75th Cannes Film Festival in southern France, Saturday. (Reuters-Yonhap)

Actor Song Kang-ho became the first Korean male actor to win an acting prize at the Cannes Film Festival, grabbing the award for best actor for his role as a “baby broker” in Japanese director Hirokazu Kore-eda’s “Broker” on Saturday.

This marked the 55-year-old’s seventh invitation to the prestigious film festival, but it is the first title the veteran actor has won at Cannes. Song starred in several Cannes award-winning films, including Park Chan-wook’s “Thirst” (2009) and Bong Joon-ho’s “Parasite” (2019).

Last year, Song served on the jury for the prestigious fest, as the fifth Korean to do so, following directors Shin Sang-ok and Lee Chang-dong in 1994 and 2009, respectively, actor Jeon Do-yeon in 2014 and director Park Chan-wook in 2017.

While Song has become the first Korean male actor to win the best acting prize at Cannes, Jeon received the award for best actress for her role in Lee Chang-dong’s “Secret Sunshine” in 2007, in which Song also starred as the male lead.

Song also became the third Asian male actor to win the prize at Cannes, following Hong Kong’s Leung Chiu Wai for “In the Mood for Love” in 2000 and Japan’s Yuya Yagira for “Nobody Knows” in 2004. {H: He’s the 4th; China’s Ge You won for ‘To Live’ in 1994.}

In “Broker,” Kore-eda’s first Korean-language film, depicting a group of people who try to find a new family for an infant abandoned in a “baby box,” Song plays Sang-hyun, who steals an unattended child from a baby box and brokers deals with couples wanting to adopt.

Song debuted with a small role in director Hong Sang-soo’s debut film “The Day a Pig Fell Into the Well” in 1996. One of the most prolific actors in the country today, Song has starred in nearly 40 films so far.

Song’s filmography shows an actor who works across genres, from drama and comedy to sci-fi and action, with highlights including “No. 3” (1997), “Swiri” (2000), “Joint Security Area” (2000), “Memories of Murder” (2003), “The Host” (2006), “A Taxi Driver (2017),” “Snowpiercer” (2013) and “Parasite.”

Along with Song, director Park Chan-wook was also named best director for “Decision to Leave” at this year’s Cannes. The two have a close relationship, having worked together for “Sympathy for Mr. Vengeance” (2002), “Joint Security Area” and “Thirst.”

Helena · May 29, 2022

https://www.koreatimes.co.kr/www/art/2022/05/689_330022.html
Song Kang-ho makes history as 1st Korean male Best Actor winner at Cannes

By Lee Gyu-lee | 2022-05-29

Actor Song Kang-ho gives his acceptance speech after winning the Best Actor award during the ceremony of the 75th Cannes Film Festival, Saturday (local times). AP-YonhapNews

Actor Song Kang-ho, who won global recognition with director Bong Joon-ho's Oscar-winning film "Parasite" in 2019, has become the first male actor from Korea to win the Best Actor award at the 75th Cannes Film Festival.

The 55-year-old actor notched the accolade at the closing ceremony of this year's festival held on Saturday (local time) for his role in "Broker" directed by Japanese filmmaker Hirokazu Kore-eda. He is the second Korean to win the highest award for a male actor at the festival, following actress Jeon Do-yeon's win for her work in the 2007 film "Secret Sunshine."

Starting off his acceptance speech by saying "thank you" in French, Song thanked the director and his co-stars for the honor.

"I deeply thank our great artist, Hirokazu Kore-eda. And I would like to share this honor with Gang Dong-won, Lee Ji-eun, Lee Joo-young, and Bae Doona who worked together (in the film)," he said. "I'm glad as this feels like a great gift to my lovely family who came here with me. I dedicate the honor of this trophy and the endless love (to them)."

Spoiler

From left, actor Song, director Hirokazu Kore-eda and actors Lee Ji-eun, Lee Joo-young and Gang Dong-won pose during the red carpet event at this year's Cannes Film Festival in Cannes, France, May 26. Courtesy of CJ ENM

During a press conference after the ceremony, Song said he has often been asked by foreign media what makes Korean films dynamic. "I believe our efforts to continuously try and change have affected the country's cultural content," he said.

The Palme d'Or director's Korean-language film debut, "Broker" revolves around two baby brokers, who steal a baby from a "baby box," which is a place where mothers are able to leave their babies anonymously because they are unable or unwilling to raise them, intending to sell the baby on the adoption black market.

Song played the role of Sang-hyun, a debt-ridden dry cleaner owner who is one of the brokers along with Dong-soo (Gang). One day, So-young (Lee Ji-eun), the mother of the baby they stole, shows up and joins their journey to find parents who can take good care of her child, while cops ― Su-jin (Doona Bae) and her partner (Lee Joo-young) ― pursue the brokers.

With this award, the actor has become the fourth Korean actor to claim the honor from one of the three globally prestigious film festivals ― Venice, Berlin and Cannes. Late actress Kang Soo-yeon was the first to win the Best Actress award at the Venice Film Festival in 1987, followed by actress Jeon in 2007 at Cannes and Kim Min-hee in 2017 in Berlin.

A scene from the action film "The Host" (2006) / Korea Times file

Song made his screen debut in 1996 with director Hong Sang-soo's directorial debut, "The Day a Pig Fell into the Well." He has built an extensive filmography since then, starring in nearly 40 films.

He has starred in various big-name movies, such as director Bong's 2006 action film "The Host," the 2013 sci-fi film "Snowpiercer," director Lee Chang-dong's 2007 drama film "Secret Sunshine" and director Park Chan-wook's "Thirst" (2009).

The actor garnered international fame for his performance in "Parasite," winning multiple awards including the Screen Actors Guild (SAG) award for Outstanding Performance by a Cast in a Motion Picture. He also was invited to serve on the jury of the 2021 Cannes Film Festival, becoming the fifth Korean to serve in the position.

A scene from the 2003 mystery film "Memories of Murder" / Korea Times file

Helena · May 29, 2022

[English subs] Park Chanwook and Song Kangho interview after winning awards at Cannes Film Festival

[Haema in Cinema | May 30, 2022] South Korean filmmaker Park Chanwook ('The Handmaiden') won his third award at Cannes Film Festival (after winning Grand Prix for 'Oldboy' in 2004 and Jury Prize for 'Thirst' in 2009) on Saturday when he won Best Director for 'Decision to Leave'. Earlier, movie star and Park's longtime friend Song Kangho ('Parasite') won Best Actor for 'Broker', making him the first South Korean to do so. Meeting Korean reporters after the awards ceremony, the two shared their thoughts on their historic wins and discussed potentially working on another movie together. 'Decision to Leave' starring Tang Wei and Park Haeil is slated for an Autumn release in the United States…

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https://k-odyssey.com/news/newsview.php?ncode=1065597589735588
Leaders of double awards at Cannes, Park Chan-wook and Song Gang-ho to return home tomorrow afternoon

YonhapNews / 2022-05-29 16:19:37
(This article is translated from Korean to English by Kim Jimin.)

▲ This file photo shows director Park Chan-wook and Song Gang-ho taking commemorative photos at the 75th Cannes Film Festival. (Yonhap)

SEOUL, May 29 (Yonhap) -- Director Park Chan-wook and actor Song Gang-ho, who were named Best Director and Best Actor respectively at the 75th Cannes Film Festival, will return home on the afternoon of the 30th.  

According to the film industry on the 29th, director Park Chan-wook will enter Korea through Incheon International Airport at 4:50 p.m. tomorrow, together with Park Hae-il, the leading actor of a film “Decision to Leave.” 

 Song Gang-ho will arrive at the airport earlier, at 1:30 p.m., together with director Hirokazu Kore-eda, actor Gang Dong-won, Lee Ji-eun, and Lee Joo-young. 

 Since “Broker” and “Decision to Leave” are about to release in Korea on the 8th and on the 29th of next month, respectively, directors and actors plan to participate in schedules including press distribution previews and production reports. 

 Director Park Chan-wook and Song Gang-ho were awarded trophies for the Best Director and the Best Actor trophies through their film “Decision to Leave” and “Broker,” respectively, at the Cannes Film Festival on the 28th (local time). This is the first time that two Korean films have been awarded in the competition sector at Cannes Film Festival. (END)

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https://k-odyssey.com/news/newsview.php?ncode=1065594047102226
Family film drawn by Kore-eda, ‘Broker’

YonhapNews / 2022-05-29 15:20:40
(This article is translated from Korean to English by Kim Jimin.)

▲ This photo, provided by CJ ENM, shows Song Kang-ho in the film "Broker." (PHOTO NOT FOR SALE) (YONHAP)

SEOUL, May 29 (Yonhap) -- “Broker,” which won the best actor award for Song Kang-ho at the 75th Cannes Film Festival on the 28th (local time), is a film directed by Hirokazu Kore-eda and starred by Korean star actors.   “Broker” is the first Korean film made by Kore-eda, who won the Palme d'Or award in Cannes Film Festival with “Shoplifters” in 2018, which has been spotlighted at home and abroad even before its release, by promoting a splendid lineup of actors including Song Kang-ho, Gang Dong-won, Lee Ji-eun, Bae Doona, and Lee Joo-young. 

 Director Kore-eda who has shown films about family several times, also drew a family film in “Broker” as well. The film depicts how different people who met through baby box gradually becomes a family. Song Kang-ho played a role Sang-hyun, the broker, who sells babies to couples who need a child, by stealing babies abandoned in a baby box, cooperating with Dong-su (Gang Dong-won).   Strictly speaking, he is a criminal of serious offence, committing human trafficking, yet he does not seem like a villain because he is a character who keeps his own values and standards. After meeting a young mother So-yeong (Lee Ji-eun), who abandoned her baby son Woo-seong, Sang-hyun, ignored by his wife and a daughter, accompanies on a journey to sell the baby, gradually realizing what family love is.

  Song Kang-ho delicately depicted how Sang-hyun changes little by little, based on his own natural acting, also known as a ‘real-life acting.’ In particular, Song’s facial expression of sitting alone after making a choice for So-yeong and her son, which would cause a huge impact on his life, is remarkable.   Since he is acting a character who is a member of the pseudo family, his part of the film is not as much as his previous works, but Song firmly keeps the balance of the actors’ ensemble.

  The film itself received a mixed reviews right after its release on the 26th (local time).   British daily newspaper The Guardian rated 2 out of 5 for “Broker,” evaluating, “(the movie is) fundamentally silly, with tiringly shallow characterisation.” Screen Daily, a film newsletter, rated 1.9, the second lowest score out of 21 films in the competition section.

  Some press has pointed out that Sang-hyun and Dong-su, who committed a serious offence, are depicted too kindly and lovely in the film.  About the issue, director Kore-eda claimed that “My philosophy is that there is no one who is completely good or evil during the whole 24 hours,” adding, “I hoped people would not despair about humans after watching “Broker.” 

 In an interview with Korean press on the previous day, Song Kang-ho also said, “If you try to approach ‘Broker’ only through the genre, you cannot understand Kore-eda’s work,” adding, “To us, it is a kind of expression, grammar, and philosophy, so we do not regret.”   Then, Song commented, “While director Kore-eda sheds light on a cold reality in an objective manner, he let the audience feel the warm heart after watching his movies,” then explained, “'Broker' is also a film that awakens us the preciousness of life, by showing the journey of people who are abandoned from their families.” (END)

Helena · May 29, 2022

http://www.koreaherald.com/view.php?ud=20220529000178
[Analysis] Korean cinema is having its moment in the sun

By Yoon Min-sik (minsikyoon@heraldcorp.com) | May 29, 2022

Song Kang-ho (CJ ENM)

The 75th Cannes Film Festival was one of the most productive outings for South Korean movies to date, marking the first time the nation claimed two major trophies at one of the world’s most prestigious film events. It was another reminder of how the country’s cinema went from relative obscurity to claiming a bigger spotlight on the international stage. Song Kang-ho, star of “Broker,” became the first Korean in history to receive the best actor award, while Park Chan-wook added to his already-impressive collection with a best director trophy for “Decision to Leave.” The two films were among the five produced by South Koreans and screened at the festival, in or out of competition.

With the big wins on Saturday, South Koreans have won at least one trophy in all of the competing categories at Cannes.

Surge in international attention

Prior to the 21st century, South Korean movies were a near non-factor on the international stage. Among the few countrymen who had a reputation outside the country was Im Kwon-taek. His “ChunHyang” in 2000 became the first South Korean film to be selected to compete for Palme d’Or, and the star of his 1986 movie “The Surrogate Woman” Kang Soo-yeon won the best actress award in the 44th Venice International Film Festival the following year, making her the first Korean thespian to win at a major international film festival. This feat made Kang, who passed away earlier this month, the first home-grown celebrity to be dubbed a “world star” by local media.

Im and Kang may have put South Korea on the cinematic map, but it was really the next generation of filmmakers and actors that expanded the country’s reputation. Lee Chang-dong’s “Oasis” won in 2002 for best director and emerging actress -- Moon So-ri -- followed with critically-acclaimed films like Park’s “Oldboy” (2003) and Lee’s “Secret Sunshine” (2007) that received prizes in the aforementioned festivals.

Kim Ki-duk -- a controversial filmmaker in terms of directing style and personal misconduct following “MeToo” accusations -- won international acclaims such as the Golden Lion for Venice Film Festival’s Golden Lion for “Pieta (2012)” and Silver Bear for Best Director at Berlin International Film Festival for “Samaritan Girl.”

Director Hong Sang-soo, recipient of the Silver Bear for “The Woman Who Ran” (2020) is another talented individual who was a beacon of controversy, as was his mistress and actress Kim Min-hee -- the star of the aforementioned film and the first Korean to win the Silver Bear for Best Actress at the Berlin International Film Festival for her performance in “On the Beach at Night Alone” (2017).

But as in case of many award-winning films, very few of these films were box office hits. For example, “Oldboy” was one of the most financially successful of all the South Korean films that won at Venice, Berlin or Cannes, but garnered only $14.98 million worldwide in terms of box office sales.

Numbers suggest that South Korean films have had limited appeal to global audiences, with their profits reliant mostly on the domestic box office success. According to US website Box Office Mojo, the biggest domestic hit of all time “The Admiral: Roaring Currents” (2014) made $131.6 million in South Korea but only $138.3 million worldwide. “Extreme Job” (2019) had worldwide box office sales of $120 million, of which $112 million was made locally. Even films like “Train to Busan” (2016), which was so successful that it landed one of its stars Don Lee (Ma Dong-seok) a Marvel Cinematic Universe gig, owed over half of its box office success to the South Korean audience.

Spoiler

A scene from "Parasite" (CN ENM)

Bong’s ‘Parasite’ a game-changer

Director Bong Joon-ho’s “Parasite” -- which also starred Song Kang-ho -- in 2019 was virtually the first homegrown film that was both critically well-received and a worldwide hit. The film was bombarded with honors that included winning the best picture, best director, best original screenplay and best international feature film at the 92nd Academy Awards, marking the first time a non-English language film won best picture and the first time a Korean film ever won at the Oscars.

But what makes the film stand out from other critically-acclaimed Korean films -- apart from the fact that it was also the first Korean film to win Palme d’Or or to win at Golden Globes -- was that it was an international box office success. It was the world’s 31st most successful film in 2019 and made $269 million overall, making it the most lucrative South Korean film of all time. More importantly it only made $71.4 million in local ticket sales, unlike the other Korean films of the past that relied heavily on local box office.

This has led to the view that the global appeal of South Korean cultural content has been on the rise, as also seen by the success of K-pop and Korean TV series, like BTS and “Squid Game.” Incidentally, the 75th Cannes Film Festival also featured an out-of-competition screening of “Hunt,” the directorial debut of “Squid Game” star Lee Jung-jae.

▲ Poster of movie 'Broker' [CJ ENM]

Since 2019, South Korean films have claimed at least one award from the major categories at the Venice, Berlin or Cannes festivals, events that had been dubbed the “big 3” by local media. While awards alone will not be enough to validate South Korea’s place in the mainstream cinema, the country’s track record strongly indicates that its status on the international stage is growing.

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https://variety.com/2022/film/asia/decision-cannes-korea-vindication-1235280497/
‘Decision’ Cannes Win is Vindication for Korean Culture, a Tight Group of Friends and the Corporation That Backed Them Over Two Decades

By Patrick Frater | May 29, 2022 1:57am PT

(‘Decision to Leave’ image)
CJ Entertainment

Coming only three years after the Palme d’Or for “Parasite,” the two Cannes prizes for Park Chan-wook as best director and for Song Kang-ho as best actor are further proof of the strength of Korean cinema’s originality, its elevated skills and its resilience.

Korean movies have been temporarily overshadowed by K-pop and Korean TV dramas – think BTS and “Squid Game” – both of which flourished during the COVID era, while Korean film was struck down by the pandemic.

Closed cinemas and disrupted release schedules meant that the film sector was not fully able to capitalize on the 2019 Cannes and multiple Oscar successes of “Parasite” and “Minari.” Korean film producers’ revenues crumbled between 2020 and early 2022. Talent from in front of and behind the camera shifted across to the more vibrant streaming sector.

The Cannes prize for Park’s “Decision to Leave” is particularly satisfying for a core group of filmmakers, that also includes “Parasite” director Bong Joon Ho, who have engaged with streaming platforms, but see themselves as filmmakers first.

This particularly tight cluster of leading names consists of a group who are friends rather than rivals. While they can be categorized as big-name auteurs with filmographies that make them out as writer-director-producers, the reality is more collegial. Park, his younger brother, Bong and a small circle of other pals grew up supporting each other. And they continue to read each other’s scripts and share notes outside of the formal studio structure.

Saturday’s Cannes wins are also vindication for Korean entertainment giant CJ ENM, which was partly responsible for Korean culture’s modern incarnation, and which has been in the Park Chan-wook and Bong Joon Ho business for more than twenty years.

CJ ENM was a founder investor in DreamWorks SKG in 1995 and then found itself doubling down in the sector as a pioneer distributor in Korea and builder of the country’s first multiplex cinemas.

Having created the distribution capacity and exhibition infrastructure, the company found itself increasingly pulled into production and production finance, needing to keep the feature films flowing, meet the government’s content quotas and industrialize a business that barely existed a decade earlier.

Guided by an idiosyncratic totem, in Miky Lee, CJ ENM has succeeded in that endeavor by trusting auteurs and attuning itself to the high standards demanded by Korean local audiences. It has grown with the talent, as the country’s creative industries emerged from the long shadow of military rule and replaced austerity with the ‘Korean Wave’ and K-cool.

CJ Entertainment was a producer of Park’s 2000 breakout film “Joint Security Area,” and financier of his astonishing 2003 picture “Oldboy,” which won Cannes’ second prize, the Grand Prix. CJ was also aboard Bong’s second title “Barking Dogs Never Bite” in 2000 and his “Memories of Murder” in 2003.

CJ jumped on board when Bong created his futuristic “Snowpiercer” train ride in 2013. It was one of the most expensive Korean films of all times and the company had to stretch itself financially to accommodate.

Guided by the success of the English-language “Snowpiercer series,” which is now in its fourth season, CJ ENM has growing ambitions in the international TV business. In the last two years it has invested in Skydance Media and Endeavor Content.

But it must surely have been just as satisfying, mid way through the Cannes Market, for CJ to be able to announce record levels of rights sales for its two feature films in competition: “Decision” (191 territories) and “Broker” (171 territories).

Helena · May 30, 2022

https://en.yna.co.kr/view/AEN20220530006100315
Cannes-winning actor Song Kang-ho returns home to hero's welcome

By Kim Boram (brk@yna.co.kr) | May 30, 2022

▲ Actor Song Kang-ho poses for a photo with his Best Actor trophy, which he won at the 75th Cannes Film Festival for his performance in the film "Broker," upon arrival at Incheon International Airport in Incheon, west of Seoul, on May 30, 2022. (Yonhap)

SEOUL, May 30 (Yonhap) -- Song Kang-ho received a hero's welcome in South Korea on Monday after winning the country's first best actor award at the Cannes Film Festival.
 
Song arrived at Incheon International Airport in Incheon, 40 kilometers west of Seoul, along with director Hirokazu Kore-eda and co-stars of "Broker," with about 300 fans and journalists celebrating the historic honor.

▲ Actor Song Kang-ho (2nd from R), director Hirokazu Kore-eda (1st from L) and other cast members of the film "Broker" pose for a photo after arriving at Incheon International Airport in Incheon, west of Seoul, on May 30, 2022. (Yonhap)

  "Thank you to all Korean movie fans for your constant interest and support for Korean films," Song told reporters upon arrival. "I thought this achievement wouldn't be possible without Korean fans' love and support."

  Song received Best Actor at this year's Cannes Film Festival in France on Saturday (French time) for his performance in the Korean drama "Broker," written and directed by Japanese auteur Kore-eda.

  It is the first title that Song has earned from Cannes, although he has starred in several Cannes-winning titles, including Bong Joon-ho's "Parasite" (2019) and Park Chan-wook's "Thirst" (2009). He served as a jury member at last year's Cannes. 

 He is the first South Korean male actor to win an acting award at Cannes and became the third Asian male performer awarded the prize after Hong Kong's Leung Chiu Wai for "In The Mood for Love" in 2000 and Japan's Yuya Yagira for "Nobody Knows" in 2004. {H: He’s the 4th. China’s Ge You won for ‘To Live’ in 1994.}

Spoiler

Cannes - Best Actor
1994: China’s Ge You for ‘To Live’ (Director: Zhang Yimou)
2000: Hong Kong’s Tony Leung Chiu-wai for ‘In The Mood for Love‘ (Director: Wong Kar-wai)
2004: Japan’s Yūya Yagira for ‘Nobody Knows’ (Director: Hirokazu Kore-eda)
2022: South Korea’s Song Kang-ho for ‘Broker’ (Director: Hirokazu Kore-eda)

Cannes - Best Actress
2004: Hong Kong’s Maggie Cheung for ‘Clean’ (Director: Olivier Assayas)
2007: South Korea’s Jeon Do-yeon for ‘Secret Sunshine’ (Director: Lee Chang-dong)

Director Kore-eda, whose previous family drama "Shoplifters" earned Cannes' top honor of Palme d'Or in 2018, also appreciated the support of Korean fans for his first Korean-language project. "Broker" is his second film to bring a lead actor the Best Actor prize at Cannes after "Nobody Knows."

  "Broker" depicts the relationships of characters formed through a baby box, where people anonymously drop off newborns that they can't raise.

  Song plays Sang-hyun, who steals an unattended infant left by its parents at a baby box and sells it to parents who need babies.

Spoiler

Director Park Chan-wook (L) poses for a photo with his Best Director trophy, which he won at the 75th Cannes Film Festival for the film "Decision to Leave," with actor Park Hae-il upon arrival at Incheon International Airport in Incheon, west of Seoul, on May 30, 2022. (Yonhap)

Later in the day, director Park Chan-wook, who was named Best Director at Cannes for his romantic thriller "Decision to Leave," was also given a warm welcome upon arrival at the airport.

The award is his third trophy earned from Cannes, following the Grand Prix, the second-highest prize at the festival, for his thriller "Oldboy" in 2003 and the Jury Prize for the horror "Thirst" in 2009.

"I was longing for Best Actor and Actress awards, but I received a different one," he said in a brief interview with about a hundred awaiting reporters, referring to his two lead actors Park Hae-il and Tang Wei. "If my actors receive prestigious awards, that would help me cast good actors in my next project."

He said he is concerned about some fixed images of a director who makes boring arthouse movies that the multiple prizes could bring to him.

"I'm worried that people would consider me as an arthouse movie director, which I'm not," he said. "I'm a filmmaker who makes commercial films that entertain many people."

He said he is now working on an American TV series titled "The Sympathizer" for HBO as a showrunner and co-director. (END)

Helena · May 30, 2022

http://www.koreaherald.com/view.php?ud=20220530000684
CJ ENM anticipated to hit jackpot with ‘Decision to Leave,’ ‘Broker’: experts

By Song Seung-hyun (ssh@heraldcorp.com) | May 30, 2022

Spoiler

“Decision to Leave” (CJ ENM)

CJ ENM is likely to hit the box office jackpot as an investment distributor of two films -- “Decision to Leave” and “Broker” -- which won major titles at the 75th Cannes Film Festival, film critics said. Park Chan-wook won best director for “Decision to Leave” and Song Kang-ho won best actor for “Broker” at Cannes on Saturday.

Some local film critics predicted that CJ ENM could sell as many tickets as it did pre-pandemic in 2019 with the two films.

“Since I have not seen the film yet it is hard to predict, but ‘Broker’ has Song Kang-ho and many strong points as a commercial film so I expect to be successful (at the box office),” film critic Jung Ji-wook said.

Culture critic Ha Jae-keun was a bit more cautious but believed the films would have a good start. “The recent trend has been that just because films won some awards at a big film festival, does not automatically mean the films can attract moviegoers. I think success will depend on actual moviegoers’ reviews,” Ha said. “But since the two films got a lot of attention from the media, it will help attract audiences in the beginning.”

CJ ENM will release “Broker“ on June 8 and release “Decision to Leave” three weeks later, on June 29.

So far, three films in which CJ ENM has invested and holds distributions rights to have won at the Cannes Film Festival, including Bong Joon-ho’s “Parasite,” which won the Palme d’Or at Cannes in 2019. “Parasite,” which was released after winning the Palme d’Or, sold 10.31 million tickets. Sales at CJ ENM’s film business increased by 63.8 percent to 349.3 billion won ($281.65 million) and its operating profit reached 43.6 billion won.

“Broker” (CJ ENM)

Meanwhile, the two films -- “Decision to Leave” and “Broker” -- have been performing well in the global film market. “Decision to Leave” has been sold to 192 countries, which is close to the record held by “Parasite,” which was sold to 205 countries. “Broker” has been sold to 171 countries.

Park’s new movie centers on a polite and honest police officer named Hye-jun (Park Hye-il). Hye-jun looks into a suspicious death that occurred on a mountain and comes to suspect the dead man’s wife, the mysterious Seo-rae (Tang Wei). At the same time, Hye-jun becomes attracted to her.

“Broker” features a cast of famous Korean actors, including Song, Bae Doo-na, Gang Dong-won and IU, and centers around the relationships formed through a “baby box,” a box installed at churches or institutions where desperate parents can leave their newborns anonymously.

Helena · May 30, 2022

https://koreajoongangdaily.joins.com/2022/05/30/entertainment/movies/Song-Kangho/20220530160806515.html
Song Kang-ho lights up Cannes, finally taking home an award

BY LEE JAE-LIM [lee.jaelim@joongang.co.kr] | May 30, 2022

Song poses at the Cannes Film Festival after winning the Best Actor Award for his performance in "Broker." [NEWS1]

It was seventh time lucky for Song Kang-ho who was finally recognized at the Cannes International Film Festival on Saturday, winning Best Actor for his performance in “Broker.”

“Broker” is Japanese director Hirokazu Kore-eda’s first Korean-language film and it was invited to compete for the prestigious Palme d’Or. Although it failed to win the top honor, it did land Song a much-deserved trophy.

“Broker” tells the story of group of people who embark on a journey to find a new family for a baby who was found in a baby box, where babies can be anonymously dropped off to be cared for by others. Song portrays Sang-hyun, a man who calls himself a broker of goodwill.

Spoiler

In “Broker” (2022), Song Kang-ho portrays Sang-hyun, a man who calls himself a broker of goodwill. Sang-hyun, Dong-soo (portrayed by Gang Dong-won) and a single mother named So-young (portrayed by Lee Ji-eun) embark on a journey to find a new home for So-young’s baby, Woo-sung. [CJ ENM]

On Saturday night, Song became the first Korean actor in 15 years to receive a trophy for his acting {at Cannes} since Jeon Do-yeon won the Best Actress Award for her role in director Lee Chang-dong’s 2007 film “Secret Sunshine.”

From left, actor Jeon Do-yeon, director Lee Chang-dong, Kim Dong-ho, the founder and former chairman of the Busan International Film Festival (BIFF) and Song attended the 2007 Cannes Film Festival for Lee’s film “Secret Sunshine,” which was release the same year. [KIM DONG-HO]

Song is only the fourth Asian to win Best Actor at the Cannes festival. He follows Ge You for his role in the Chinese film “To Live” in 1994, Tony Leung Chiu-wai for his role in the Hong Kong movie “In The Mood For Love” in 2000 and Yuya Yagira for the Japanese film “Nobody Knows” in 2004.

Dubbed as Bong Joon-ho’s muse after appearing in four of his films — “Memories of Murder” (2003), “The Host” (2006), “Snowpiercer” (2013) and 2019 Palme d’Or winner “Parasite” — Song no longer remains just Bong's inspiration.

Song poses with director Bong Joon-ho and actor Lee Jung-eun after “Parasite” won the award for Best Motion Picture, Foreign Language at the Golden Globe Awards in 2020. [YONHAP]

This year was Song’s seventh visit to the prestigious festival, and the fourth time that a film that he starred in competed for the Palme d’Or.

Song first visited Cannes as the star of director Bong Joon-ho’s 2006 film “The Host,” which was screened in the Directors’ Fortnight section of the festival. The following year, he attended thanks to his role in “Secret Sunshine" and in 2009, was invited after starring in director Park Chan-wook’s “Thirst,” which won the Jury Prize.

He also had roles in “The Good, The Bad, The Weird” (2008) by director Kim Jee-woon and “Emergency Declaration” (2022) by director Han Jae-rim, which were both screened at Cannes in the category of films out of competition.

Last year, Song became a member of the Cannes’ jury, becoming only the second Korean actor to do so after Jeon Do-yeon in 2014.

Cannes is not the only international film festival to recognize Song. In 2019, he made history by becoming the first Asian actor to win the Excellence Award at the 72nd Locarno International Film Festival. The award pays tribute to film personalities whose efforts and talents have enriched cinema. Some notable winners of the award include Ethan Hawke, Mathieu Kassovitz, Edward Norton, John Malkovich, Juliette Binoche and Isabelle Huppert.

“Song might not be a household name for audiences in the West, but his face is familiar around the world,” Lili Hinstin, artistic director of the Lorcarno Film Festival commented after Song was awarded the excellence prize. “A many-faceted actor, he is a peerless interpreter of the variety and intensity of emotions generated by Korean cinema, at ease in anything from drama to hard-boiled thriller, his face and body indelibly associated with the films of directors such as Bong Joon-ho, Park Chan-wook and Kim Jee-woon; who if not Song Kang-ho can embody in a single performance all the excellence of Korean filmmaking over the past twenty years?”

Song was not the only Korean to be honored at Cannes over the weekend. Park Chan-wook was named Best Director for his feature film “Decision to Leave” starring Park Hae-il and Tang Wei.

“If Song and I had come to Cannes by working on the same film, it would have been difficult for us to both receive a prize,” Park told Korean reporters. “The festival does not give both awards to one film. I feel like we were both able to receive a prize because we came separately.”

“I have worked with Park many times, and [his winning] is especially meaningful for me because he received the Jury Prize with ‘Thirst,’” Song said. “I don’t think that I will be able to forget the moment when Park came running up to me as my name was called. I was so touched.”

In addition to "Thirst," the pair have also worked together on films such as “Joint Security Area” (2000) and “Sympathy For Mr. Vengeance” (2002). When reporters asked Park if he had any plans to work with Song in the future, Park joked with Song, “just don’t reject my offer. All will be done in time.”

Song remained humble when praised during the press conference after the closing ceremony on Saturday. “I don’t think acting holds any meaning if it is done for the purpose of achieving an award. Actors have to be free and they need to be continuously liberated from such things. It is extremely crucial that they do so,” the actor said.

The fact that Song is once again being recognized for his portrayal of a seemingly ordinary character that lives a somewhat mundane life, speaks to his acting prowess.

A 2019 article by Forbes titled “Parasite Star Song Kang-ho Has No Hollywood Plans,” cited how Song had turned down chances to star in big-budget Hollywood productions despite the international recognition he gained for his performance in “Parasite”. “I would like to pass on that opportunity to other actors,” he was quoted as saying in the article. “I think in such films I would disappear, so I will instead continue to use Korean films such as ‘Parasite’ to express myself.”

Song did not attend acting school and instead has honed his skills over the last 26 years by appearing in some 40 films. He debuted in 1991 through a theatrical play called “A Little Monk” and made his silver screen debut in director Hong Sang-soo’s “The Day A Pig Fell Into The Well” (1996). Lee Chang-dong, who'd seen Song perform on the theater stage, offered him a small role in his debut feature film “Green Fish” (1996). Director Song Neung-han, who saw his acting in “Green Fish,” offered him a role as one of the gangsters in his film “No. 3” (1997) which earned the actor some public attention. Thus began his decades-long career which has seen him work with legendary directors across a variety of genres.

At the local press event for “Broker” earlier this month, Hirokazu Kore-eda who wrote and directed the film said he had Song in mind from the very beginning. Before the film went into production, Kore-eda had a meal with Bong and Song, during which Bong told Kore-eda not to worry about directing his first Korean-language film because “you can always rely on Song.”

“I received a lot of advice from Bong during our meal together,” Kore-eda said. “Especially regarding my worries about creating a film from a foreign country. Bong told me that when the production begins, I can just count on Song because his presence is like a sun and his presence will light up the set and everything will go well.”

As well as a shelf full of awards, Song has also starred in four films which garnered over 10 million in ticket sales — the number deemed the milestone of a film's commercial success in Korea. The four films are “The Host,” “The Attorney” (2013), “A Taxi Driver” (2017) and “Parasite.”

Spoiler

In “The Host,” Song plays Gang-du, a slow-witted vendor who takes care of his father’s shop near the Han River. His life changes when a monster created from environmental pollution kidnaps his daughter Hyun-seo (portrayed by Go Ah-sung). [SHOWBOX]

In “The Attorney,” Song plays a lawyer named Woo-suk, a character based on former president Roh Moo-hyun. [NEW]

Song portrays Ki-taek in “Parasite” (2019), the father of the Kim family who live in a small semi-basement apartment in Seoul. He and the rest of the family end up working for the wealthy Park family. [CJ ENM]

American film website IndieWire selected named Song on its list of “The 15 Best Film Performances By Actors in 2019” for “Parasite.” He was the sole Asian actor to be listed.

The following year, the actor made it on the New York Time's list of “The 25 Greatest Actors of the 21st Century” along with actor Kim Min-hee.

“He has the ability to bring life and rawness to every moment,” Bong said in an interview with the New York Times about Song. “Even if a scene involves difficult dialogue or highly technical camerawork, he will find a way to make it seamless and spontaneous. Each take will be different, and the unwieldiest dialogue will seem like improvisation.

“His uniqueness as a protagonist comes from his ordinariness and mundaneness. Especially to the Korean audience, Song projects the quality of the typical Korean working man, a neighbor or friend you might encounter in your neighborhood [...] He starts from the ordinary and elevates it into a singular and inimitable voice. I believe that’s what makes Song Kang-ho and the characters he inhabits genuinely special.”

Since “Parasite,” Korean content and actors have been enjoying attention on the global stage. Youn Yuh-jung became the first Korean actor to win the Best Supporting Actress at the Academy Awards in 2021 for her role in “Minari” (2020) while Lee Jung-jae and Hoyeon from Netflix series “Squid Game” (2021) became the first Korean actors to respectively win Outstanding Performance by a Male Actor and Outstanding Performance by a Female Actor at the Screen Actors Guild (SAG) Awards in February.

Song's name will also be marked in the history books as the first person to win an acting award for a Korean-language film by a foreign director at one of the “big three” — Venice, Cannes and Berlin.

Helena · May 30, 2022

http://english.hani.co.kr/arti/english_edition/e_entertainment/1044989.html
Korean films steal spotlight at Cannes with wins for Song Kang-ho, Park Chan-Wook

By Oh Seung-hun (staff reporter) | May.30,2022 17:03 KST

Actor Song Kang-ho and director Park Chan-wook each took home an award at the prestigious film festival

Song Kang-ho poses for a photo after winning Best Actor at the 75th Cannes Film Festival on May 28 (local time). (from the Cannes Instagram)

Korean films have cemented their central place in the cinema world with two major wins at the Cannes Film Festival.

South Korean films took the Best Director Award and the Best Actor Award at the 75th Cannes Film Festival, one of the most prestigious film festivals in the world, attesting to the quality and artistic merit of South Korean cinema.

Director Park Chan-wook’s “Decision to Leave” and director Hirokazu Kore-eda’s “Broker,” both of which were selected to compete for the Palme d’Or, received recognition at the festival, rewriting the history of South Korean cinema, which has been in the international limelight ever since “Parasite” won the Palme d’Or in 2019.

The first good news to come out of the Lumière Auditorium in Cannes, where the festival’s award ceremony took place, on Saturday was the announcement that Song Kang-ho had won the Best Actor Award for his role in “Broker” — marking the first time a South Korean male actor was being recognized for his performance at a “Big Three” film festival (Cannes, Berlin, and Venice).

When the news reached the press center, applause erupted from South Korean reporters who had traveled to France to cover the occasion.

When his name was called, Song embraced Kore-eda and Gang Dong-won, who were sitting on either side of him, and walked up the stage overcome with emotion. Once on the stage, Song thanked the audience in French and said, “I’m so, so thankful and honored. I express my deep gratitude to director Kore-eda, who is a great artist.”

He continued, “I want to express my deep thanks to and share this honor with [my co-stars] Gang Dong-won, Lee Ji-eun, Lee Joo-young, and Bae Doo-na,” adding, “I believe this will be a huge gift to my loving family, who came here with me. I dedicate the glory of this trophy and eternal love [to them].”

Song made an impressive performance as Sang-hyeon, an illegal adoption broker who is nevertheless portrayed as having good intentions, in Kore-eda’s “Broker,” which was selected to compete for the Palme d’Or, the highest honor at the Cannes Festival.

“Broker” is a gentle and kind-hearted road movie and the newest film by Kore-eda, a director who has expanded the definition of “family” through his work.

Song became the second South Korean actor to receive an acting award at Cannes after Jeon Do-yeon, who won the Best Actress Award at the film festival in 2007 for her role in “Secret Sunshine.” He is the third Asian male actor to be honored with a Best Actor Award at Cannes after Tony Leung, who received the prize in 2000 for his role in “In the Mood for Love,” and Yagira Yuya, who was recognized in 2007 for his role in “Nobody Knows.” {H: He’s the 4th. China’s Ge You won for ‘To Live’ in 1994.}

Spoiler

Cannes - Best Actor
1994: China’s Ge You for ‘To Live’ (Director: Zhang Yimou)
2000: Hong Kong’s Tony Leung Chiu-wai for ‘In The Mood for Love‘ (Director: Wong Kar-wai)
2004: Japan’s Yūya Yagira for ‘Nobody Knows’ (Director: Hirokazu Kore-eda)
2022: South Korea’s Song Kang-ho for ‘Broker’ (Director: Hirokazu Kore-eda)

Cannes - Best Actress
2004: Hong Kong’s Maggie Cheung for ‘Clean’ (Director: Olivier Assayas)
2007: South Korea’s Jeon Do-yeon for ‘Secret Sunshine’ (Director: Lee Chang-dong)

  
As this year marked the seventh time Song was invited to attend the Cannes Festival, many predicted a Best Actor win for Song when news broke that “Broker” was invited to the festival as well.

But the good news for South Korean cinema didn’t stop there. After Song received his award, Park’s name was called as the winner of the Best Director Award.

Park Chan-wook poses for a photo after winning Best Director at the 75th Cannes Film Festival on May 28 (local time). (from the Cannes Instagram)

After embracing Park Hae-il, Park Chan-wook made his way onto the stage with a big smile on his face. He said, “As it experienced the COVID-19 pandemic, humanity sometimes raised its borders to incredible heights, but it was also able to share a unified fear and concern with each other.” He continued, “There were times when viewers stopped watching films and going to theaters, but we all had as big a chance to realize how precious theaters are.”

“As much as we had the hope and strength to overcome this epidemic, I believe we filmmakers will keep on defending the theater and forever preserve movies.”

Park also added, “Thank you to CJ ENM, CJ Vice Chairperson Lee Mie-kyung, screenwriter Jeong Seo-kyeong, and all the crew for their unsparing support in making this movie. [. . .] More than anything, my love for Park Hae-il and Tang Wei cannot be described in words.” He concluded his speech by saying, “I will spare the details for now.”

Park Chan-wook’s newest film “Decision to Leave” is a love story at once familiar and novel rendered as a movie, the artistic form that has captured the cinematic maestro who has been acknowledged by Cannes time and time again. The film portrays with simplicity the intimate love between two people who do not share a language by employing dramatic techniques reminiscent of classic detective films without including scenes of graphic violence or sex.

Park Hae-il and Tang played leading roles in the film.

Park Chan-wook, who was selected to compete for the Palme d’Or at Cannes for the first time in 2004 for “Oldboy,” received the festival’s second-most prestigious award, the Grand Prix, at the time. Five years later, in 2009, he was invited to compete again for the festival’s highest honor for his movie “Thirst,” for which he earned the Jury Prize. In 2016, Park was once again selected to compete for the Palme d’Or for “The Handmaiden,” but walked away empty-handed that year.

Park received his third Cannes trophy with this year’s Best Director Award.

Meanwhile, the Palme d’Or for this year’s Cannes Festival was given to “Triangle of Sadness” directed by Ruben Östlund. The Grand Prix was jointly awarded to Lukas Dhont’s “Close” and Claire Denis’ “Stars at Noon.” The Best Screenplay Award was given to Tarik Saleh’s “Boy from Heaven,” while the Best Actress Award was granted to Zar Amir Ebrahimi for her role in “Holy Spider.”

The Jury Prize was jointly awarded to Charlotte Vandermeersch and Felix Van Groeningen’s “The Eight Mountains” and Jerzy Skolimowski’s “EO.” Jean-Pierre and Luc Dardenne’s “Tori and Lokita,” which was considered a strong contender for the Palme d’Or, received the 75th Anniversary Prize.

The Palme d’Or for Short Films was awarded to “The Water Murmurs” by Jianying Chen. The Caméra d’Or, a prize for first-time directors for which Lee Jung-jae was discussed as a strong contender, was given to “War Pony” directed by Riley Keough and Gina Gammell.

twinkle_little_star · May 31, 2022

congratulations to a highly versatile actor, he performed in historical, biographical and patriotic roles; in costume and art movies. Song Kang Ho makes history at the 75th Cannes Film Festival as he becomes the first Korean artist to receive the Best Actor Award for Broker.

source:

Helena · May 31, 2022

https://koreajoongangdaily.joins.com/2022/05/31/entertainment/movies/Korea-Broker-Cannes/20220531174641972.html
'Broker'

May 31, 2022

From left, actors Lee Joo-young, Lee Ji-eun, Gang Dong-won, Song Kang-ho and director Hirokazu Kore-eda, answer questions at the press conference for the film "Broker" at CGV Yongsan I'Park Mall in Yongsan District, central Seoul, on Tuesday. “Broker” tells the story of a group of people who embark on a journey to find a new family for a baby who was found in a baby box, where babies can be anonymously dropped off to be cared for by others. For his performance in the film, lead actor Song received the Best Actor Award at the 75th Cannes International Film Festival on Saturday. The movie hits local theaters on June 8. [ILGAN SPORTS]

Spoiler

@ Newsen

@ CJ ENM

[ENG][Full Video] Movie 'Broker' Press Screening | Song Kang-ho, Gang Dong-won, Lee Ji-eun (IU), Lee Joo-young

—

https://www.koreatimes.co.kr/www/art/2022/05/689_330182.html
Song Kang-ho was 'starting point' of 'Broker': director Kore-eda

By Kwak Yeon-soo | 2022-05-31

From left: Actors Gang Dong-won, IU, director Hirokazu Kore-eda, actors Lee Joo-young and Song Kang-ho pose after a press conference at CGV Yongsan on Tuesday. (Yonhap)

Korean film by Japanese director talks about universal values

Japanese auteur Hirokazu Kore-eda shared that actor Song Kang-ho, who won Korea's first Best Actor award at this year's Cannes Film Festival, was the "starting point" of his first fully Korean film, "Broker."

The film centers on a group of crooks who form an unconventional family through a "baby box" where people abandon their unwanted infants anonymously.

"I decided the starting point of the film should be Song gently holding and talking to the baby, but heartlessly selling him for money. An image of Song portraying the blurred line between good and evil struck me as I was preparing for the film," he said during a press conference for the movie in Seoul, Tuesday.

Kore-eda, who wrote and directed the film, explained what prompted him to tell a story about Korea's baby adoption system instead of shining light on social problems in Japan.

"Around 2013 when I was filming 'Like Father, Like Son,' I learned about the Japanese adoption system and the so-called 'baby hatches' (places where people can abandon their babies anonymously) in Kumamoto. As I did my research, I found out that the number of babies coming to baby boxes in Korea is about 10 times the number in Japan. I've also longed to collaborate with Korean actors," he said.

Kore-eda stressed that the film explores universal values regardless of culture.

"I believe every human has his or her intrinsic values. In a society where people are obsessed with efficiency, I think this film raises some important questions that we may all agree on. It points out a lack of a social safety net, not just putting blame on individuals, especially mothers," he said.

Song, who received a hero's welcome on Monday after bringing home the Best Actor award at Cannes, said he believes the film has universal resonance.

In the film, Song plays Sang-hyun, who intercepts abandoned infants being dropped off at a baby box and sells them on the adoption black market. "Broker" also stars top-notch actors including Gang Dong-won, Bae Doo-na and singer-and-actress Lee Ji-eun, also known as IU.

On becoming the first Korean male actor to win an acting award at Cannes, Song said he wants to process the joy as slowly as possible.

"To be honest, I was more nervous before the festival selection committee contacted us to attend the closing ceremony, because they usually call seven out of 21 films in competition. When my name was called out in the middle of the awards ceremony, I panicked for a few seconds," Song said.

"Directors Bong Joon-ho (of 'Parasite') and Kim Jee-woon (of 'I Saw the Devil') were the first ones who congratulated me. They were watching the ceremony livestreamed via YouTube."

It is the first title that Song has earned from Cannes, although he has starred in several Cannes-winning titles, including Lee Chang-dong's "Secret Sunshine" (2007), Park Chan-wook's "Thirst" (2009) and Bong's "Parasite" (2019).

"Broker" will hit local theaters, June 8.

Helena · May 31, 2022

http://www.koreaherald.com/view.php?ud=20220601000169
Director Kore-eda says Song Kang-ho inspired him to make ’Broker‘

By Song Seung-hyun (ssh@heraldcorp.com) | Jun 1, 2022

From left: Actors Lee Joo-young, IU, Gang Dong-won and Song Kang-ho along with director Hirokazu Kore-eda participate in their first press conference after returning from the 75th Cannes Film Festival at CGV Yongsan on Tuesday. (Song Seung-hyun/The Korea Herald)

Actor Song Kang-ho recalled what it was like to receive the best actor award at the 75th Cannes Film Festival, a first for a Korean male, during a press conference for the film held Tuesday, just a day after returning from France.

“Very few get to receive awards at Cannes. Only seven out of 21 movies (in competition) get awards. Before midnight, those seven films get a notice that they will receive awards. So I was really nervous before midnight,” Song said during the press conference held at CGV Yongsan in central Seoul. “It is hard to recall the exact moment when my name was announced. I think I panicked and had a bizarre feeling and also was very happy.”

Song added that the first text messages he received after getting the award were from director Bong Joon-ho in London and director Kim Ji-hoon in Korea. “They were watching the awards ceremony on YouTube. I received so many congratulatory messages and so much praise. I want to continue to enjoy them bit by bit,” Song joked.

Cannes-winning actor Song Kang-ho (Yonhap)

Director Hirokazu Kore-eda also shared what it was like to watch Song receive the top actor prize. “I am a little cynical, so when people praise my work I think about which part was good and can never enjoy their praise. But when my actors receive praise, I can truly enjoy it and be happy,” the director said. “Japanese reporters also told me that I looked happier than usual.”

The Japanese director added to the praises for Song’s performance. “I think Song won the award not because I did something right; it was due to the accumulation of all the work that he has done. I could not believe that he had not received any awards previously,” he said. “If he had received the award earlier for appearing in director Bong Joon-ho’s work or director Lee Chang-dong’s work, nobody would have thought that he did not deserve it. I feel sorry that he is receiving it (belatedly) with my project, and I am so happy. It is the best award that my movie ‘Broker’ can receive.”

Kore-eda’s “Broker” centers on relationships formed through “baby boxes” installed at churches or institutions in Korea where desperate parents can leave their newborns anonymously. The film begins with So-young (played by IU) leaving her baby in front of a baby box at a church. Sang-hyun (played by Song) and Dong-soo (played by Kang Dong-won) secretly steal the baby to sell him to a family who cannot adopt legally. So-young who returns to the church the next day finds out that Sang-hyun and Dong-soo have taken her baby. Soon, So-young and the two men are looking for the rights parents for the baby. Meanwhile, a cop, Soo-jin (Bae Doo-na), follows the two men and nabs them as they are about to make an illegal deal with potential parents.

During the conference, the Japanese director talked about what it was like to work with Korean actors. “I am sure actors had concerns since I do not speak Korean. In order to solve that problem, I tried communicating with them as much as possible. Before shooting the film, I gave them a hand-written letter. Once we started filming, we tried having a deep conversation. Also, Song Kang-ho gave me feedback after watching the roughly edited version each day,” the director said.

The director also went on and talked about how Song inspired him to make the movie. “A scene of Song Kang-ho gently talking to a baby in the baby box and also selling babies came to my mind. I thought about Song playing a character that has both good and evil sides and that’s where I started from,” he said.

He discovered about baby boxes while working on other projects. “When I was filming ‘Like Father, Like Son’ in Japan, I did a lot of different research about adoption and found out that there is a baby box in Kumamoto. Then I found out that there are baby boxes in Korea as well. According to statistics, the number of babies that are placed in baby boxes in Korea is over 10 times greater than the number in Japan.” He said.

Korean heartthrob Kang talked in greater detail about his character and how he prepared for it during the press conference. “Dong-soo is from an orphanage and is also a partner of Sang-hyun who steals babies for adoption. Before filming the scenes, I had a conversation with people who used to live in orphanages. The most impressive thing for me was when they told me about how the children would get their hopes up when they heard a car come in, thinking that someone might be there to take them home. I thought that my character Dong-soo also waited for his mother like them,” he said. “Dong-soo is also a man who believes that children should grow up in a family and not at an orphanage. He also probably had some resentment (toward his mom). And realizes through So-young that his mother could have had reasons for not coming back to get him.”

The singer-turned-actor IU, also known as Lee Ji-eun, talked about a difficult scene that she had to perform. “Since the director is Japanese, the script had swear words that did not seem natural for Koreans. So I asked if I could add some Korean swear words and the director allowed me to change it freely,” she said.” This is the first time I‘ve performed lines with swear words. So I practiced them a lot at home and was very nervous before filming.”

“I always thought that Lee Ji-eun was a great actor but I did not know that she would pull off the scene so well,” Song said. “Another scene that I really liked was when they (Sang-hyun and Dong-soo) hop onto a van after failing to find the right parents. Sang-hyun and Dong-so do not know what to do in that scene and speak gibberish, and, just at that moment, she (IU) kicks the front seat. That was not in the script so I was really surprised and could perform a realistic reaction,” Song said.

The Japanese director’s film hits local theaters on June 8.

Helena · May 31, 2022

http://www.koreanfilm.or.kr/eng/news/news.jsp?blbdComCd=601006&seq=5774&mode=VIEW
“I hope this award won’t affect me.”, Actor SONG Kangho

by Park Hyeeun | May 30, 2022

Actor Song Kangho of Broker, the Winner of the Best Actor at the 75th Festival de Cannes

Director Park Chanwook, who didn’t watch Broker yet due to his busy schedule at Cannes, asked Actor Song Kangho, “I heard your acting in Broker is fabulous. Is it true?” Then, Song Kangho replied, “No, I just played a supporting role. I’m nothing in the film.” Song Kangho, who lowered himself by saying ‘I’m nothing’ and repeatedly emphasized the ensemble of the actors, who acted together in the movie, became the first Korean actor who won the Best Actor at the Festival de Cannes.

The relationship between Actor Song Kangho and the Festival de Cannes is deep and long. He was first invited to Directors’ Fortnight at Cannes for Director Bong Joonho’s The Host (2006). Since then, 4 films he starred in have been invited to the Competition, starting with Secret Sunshine in 2007, THIRST (2009), PARASITE (2019), and Broker this year, none of which have returned empty-handed from Cannes. Secret Sunshine won the Best Actress at Cannes for the first time in Korean cinema history, THIRST won the Grand Prix, and PARASITE won the Palme d’Or. According to Cannes’ custom of granting only one award to one movie, the awards the movies received were also a tribute to Song Kangho’s fabulous acting. And finally, Broker allowed him to win the Best Actor trophy with his name engraved on it.

When Song Kangho was called for the Best Actor, Kang Dongwon next to him shared a deep hug with Song with teary eyes. Director Park Chanwook and Actor Park Haeil, who were sitting far away, ran toward Song and hugged him hard. Park Haeil and Song Kangho first came to Cannes through Director Bong Joonho’s The Host. As Director Park Chanwook said, “If you wait, the time will come,” Song Kangho’s time has finally come at Cannes. After Broker was invited to the Competition, Song Kangho was a strong nominee for the Best Actor award. Now his name has become a ‘reliable actor guaranteed by the world.’ Actor Song Kangho had an interview with the Korean press group shortly after he won the award. He looked happy, but he seemed calm as a ‘seasoned actor of Cannes.’

Congratulations on winning the Best Actor Award at the 75th Cannes Film Festival.
It’s an honor. I’d like to thank Director Kore-eda Hirokazu, who is a great artist. I would like to express my deep gratitude to Kang Dongwon, Lee Jieun, Lee Jooyoung, and Bae Doona and share this honor with them. I also thank Lee Yoojin, CEO of ZIP CINEMA, and CJ ENM officials. My beloved family came here with me, and I’m glad that this award can be a big gift for them.

You have become the first Korean actor who won the Best Actor at Cannes. It is also the first Best Actor award at Cannes, Berlin, and Venice, which are called the world’s top 3 film festivals. How do you feel about it?
An actor cannot act to win an award, and there is no actor who does so. There is only a process of constantly challenging good films, being invited to such a great film festival like this one, encouraged there, and winning awards. I don't think winning an award is an absolute value for an actor. I am very happy and honored to win this award, but winning an award will never be my goal.

This year, the President of Jury of the Festival de Cannes is an actor as well as a lot of the jurors are actors. As such, many predicted that Song Kangho was likely to win the award.
Since the jury group included a lot of actors, it seems more meaningful to me. I think I’ll have to think it over. As you can see from the movie Broker, not only I but many great actors, including Kang Dongwon, Bae Doona, Lee Jieun, and Lee Jooyoung acted so hard making great harmony. On behalf of all of them, I think I won the award. Every single actor in Broker is so precious.

What do you think is the reason Korean films are so popular around the world?
I had been asked similar questions a lot at Cannes. ‘Why is Korea so dynamic and diverse?’ ‘Why moviegoers and fans all over the world are so crazy about Korean films?’ Korea may be a small country, but we always find ways to change and develop dynamically. We try not to be stagnant and do our best every moment for changes. I think such efforts seem to have also affected cultural content. As creators, we can’t be lazy even for a moment. The hot encouragements and criticisms from the audience make us keep going. In the end, I can tell the audience’s support has become the driving force to create this wonderful result.

How do you think the Best Actor award at Cannes will affect you as Actor Song Kangho in the future?
I hope it won’t affect me at all. After winning the award, nothing has changed, and I am still who I am. I just try to deliver good films and good stories to the audience. It’s meaningless if you act only ‘to win an award.’ I think that kind of mindset matters most for an actor.

What kind of effort do you make to liberate yourself as an actor?
Being new is not something new for newness. As an actor and as an artist, my job is to constantly study, research, and think about the forms I can deliver stories to the audience. Whether my performance was good or not in a movie will be evaluated later. It is important to always think and try hard about what mindset and attitude I should have as an actor.

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Song Kang-Ho 송강호 [“Broker”, “Emergency Declaration”]

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