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Guest Mariposa28

Jeon Do-Yeon made Knight in the Order of Arts and Letters by French government

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Jeon Do-Yeon made Knight in the Order of Arts and Letters by French government

French Minister for Foreign Trade Anne-Marie Idrac (L) talks to Festival Director Kim Dong-Ho © and South Korean actress Jeon Do-Yeon ® after presenting Jeon Do-Yeon France's 'Chevalier dans l'ordre des Arts et des Lettres' medal (Knight in the Order of Arts and Letters) at a ceremony during the 14th Pusan International Film Festival (PIFF) in Busan, South Korea, 10 October 2009. The biggest film festival in Asia showcases 355 films from 70 countries, from 08 to 16 October in Busan.

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Veronique Cayla (L), Director of the National Cinematography Center (CNC), Producer Mickile Raygavras © and Greek-born French Director Costa Gavras ® attend a ceremony during which South Korean actress Jeon Do-Yeon received France's 'Chevalier dans l'ordre des Arts et des Lettres' medal (Knight in the Order of Arts and Letters) during the 14th Pusan International Film Festival (PIFF) in Busan, South Korea, 10 October 2009. The biggest film festival in Asia showcases 355 films from 70 countries, from 08 to 16 October in Busan. EPA/JEON HEON-KYUN

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Guest kdramafanusa

The Hollywood Reporter / 10asia (images)

Pusan a sophomore curse, blessing

Directors feel the pressure after early success

October 10, 2009

By Park Soo-mee

L-R: Park Chan-ok, Lee Song Hee-il, Lee Seong-han, Lee Hae-joon, Kim Tae-shik, Kim Dong-won

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BUSAN -- Korean films featured in this year’s Pusan festival have some peculiar things in common, such as making reference to particular locations through their titles or the film’s settings, such as “Paju,” “Haeundae” and “Tokyo Taxi.”

Many Korean directors who found early success at the festival are now returning with second features. Through them, one can predict the trends of Korean cinema in the next few years, or so the programmers of Pusan thought in organizing “#2,” an open discussion of six emerging Korean directors at the festival’s beachfront Saturday -- Park Chan-ok, Lee Seong-han, Lee Hae-joon, Lee Song Hee-il, Kim Dong-won and Kim Tae-shik.

For each one, doubt and anxiety about the uncertain conditions of filmmaking in Korea at the moment seem to have overpowered their enthusiasm.

“It became more complicated the second time because the pressure has gotten too big that I couldn’t just shoot a film because I think it’s all fun and it’ll work,” said Lee Hae-joon who directed “Castaway on the Moon,” about a man stranded on an island within Seoul.

Lee’s debut feature “Like a Virgin” (2006) was a comedy about a chubby schoolboy who wants to save money to get a sex-change operation. The film widely attracted critical reviews, but failed at the local boxoffice.

“The fact that I didn’t succeed as a commercial director put lot of burden on my attitude for my second film,” he said. “I had to come to terms with the fact that my interest doesn’t always match the audience's.”

The rough transition seems painfully inevitable for those who have witnessed the Korean film industry suffer in the past few years.

“You have to understand that many of these directors shot their first film when Korean cinema was enjoying the peak of a brisk market,” said Lee Sang-yong, Pusan’s programmer of Korean films. “It’s natural that they feel pressured. The investment condition has changed completely, and it’s so common for Korean directors to disappear after their first film.”

Others have gone the other way from commercial filmmaking.

Kim Dong-won began his film career as a writer for Bong Joon-ho’s twisted comedy “Barking Dogs Never Bite” (2000) and made his commercial debut through another comedy, “Bet on My Disco." For his latest feature he turned to a smaller-budget film “Drifting Away,” which portrays the life of Korean theater actors on and off the stage.

Director Lee Seong-han, whose debut feature “Spare” was shown at Pusan two years ago, set up his own production company for his latest feature “Wish,” a coming-of-age story about a local schoolboy.

“I developed a stronger mechanism for self-censorship,” Lee said, of producing his own film. “I cut out more ambitious scenes, and boldly highlighted parts that I wanted to stress.”

Lee Song Hee-il, Park Chan-ok

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For Park Chan-ok, helmer for “Jealousy is My Middle Name” (2002), her second feature was the first in seven years. Her previous film was known for raw depictions of a Korean society, giving her the nickname “the female Hong Sang-soo.” (Park was an assistant for Hong in “Virgin Stripped Bare by Her Bachelors.”)

Park’s realist style is still visible in her second feature, especially in disclosing the hypocrisy of Korean liberal intellectuals, as evident in the male lead of “Paju,” who is a student activist from college but cheats on his wife. The film is a subtle romance between him and his dead wife’s sister.

Others make a curious transition from their first to second. Lee Song Hee-il of “No Regret,” a gay romance, shot a poignant short earlier this year -- part of an episode for an omnibus film “Show Me the Money” shown as the opening of Jeonju International Film Festival.

His episode is a horrifying psychological drama of a wife on the verge of nervous breakdown after learning that her husband lost money on stocks, and that he might kill her to collect insurance money. His latest feature, “Break Away,” delves into the lives of young soldiers trying to escape the military.

Lee Hae-joon, Kim Tae-shik

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Others have stayed on a more predictable track. Kim Tae-shik in “Tokyo Taxi” continues to explore the notion of urban space from his debut feature “Driving with My Wife’s Lover” (2006), also a film about a man who discovers that his wife is cheating on him with a taxi driver.

For all six, their second features are fragile experiences of growing up as a Korean director and adjusting their expectations.

“I feel like a little child who doesn’t want to learn what it’s like to be outside of the house,” said Lee Song of “Break Away.” “Already, I feel like I was drowned and crashed. People always encourage you after you shoot your first film, because they know you’re still a child. But they don’t treat you the same the second time, and I have a feeling that they’ll be tougher on me for my third film.”

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2009/10/11

Film critic produces feature of her own

BUSAN, Oct. 11 (Yonhap) -- The search for a missing sister begins with a misunderstanding, a theme that runs throughout the movie "Viewfinder (Gyeong)."

An elder sister acting as mother to her younger sibling isn't aware of the fact that her sister hasn't gone missing at all, but has in fact left home in order to escape her overbearing and overprotective ministrations. Despite the many frustrating or embarrassing situations, the film's characters remain calm and expressionless, silently mirroring events like "viewfinders" passively projecting images.

Abandoning her role as Kim So-young, famed South Korean movie critic, the renowned film expert has ventured into her first drama under the alias Kim Jeong.

"Viewfinder" is one of 10 Korean films invited to the Pusan International Film Festival's Vision section this year, designed to demonstrate the breadth and future direction of independently-produced feature films.

Kim's film was among the works "most looked forward to" by film experts at the Pusan film fest, along with "Cafe Noir," another feature debut by critic-turned-director Jung Sung-il. Both movies will explicitly demonstrate how interpreting a film affects the creative process behind it, they said.

Different "viewfinders" appear throughout the films sequences, such as when the elder sister Jeong-gyeong (Yang Eun-yong) encounters people at a highway restaurant while searching for her sibling (Lee Ho-young). Just as in modern society, where people are "projected" by something or someone while seeking connection, each individual in the scene looks blankly into their own screens -- a mobile phone, a computer or a camera.

"I wanted to reflect that aspect of contemporary life, in which people are so strongly influenced by the media that they never let a second pass by without a 'frame' to link them and project them to the rest of society," director Kim said ahead of the movie's screening.

Wandering aimlessly along the highway, the film's main characters appear lonesome and haunted by the memory of family and their deceased mother, which serves as the link between the two sisters.

"I don't have a sister so I was keen to know more about what that was like," Kim said. "Along with motherhood, sisterhood is an interesting tool to express femininity."

"These sisters have their own ways of accepting their mother's absence and grieving over her death," she added. "I wanted a link to connect them through the journey."

Currently a professor at Korea National University of Arts, Kim studied filmmaking at the Korean Academy of Film Arts and also directed "Koryu: Southern Women/South Korea (2000)," a documentary trilogy highlighting the historical role of women in South Korea, as well as "I'll be seeing Her (2002)" and "New Woman: Her First Song (2004)."

Her works have received international attention and were invited to several domestic and international film festivals including the Seoul Women's Film Festival, Yamagata International Film Festival, Pesaro Film Festival, Melbourne Film Festival and Hong Kong International Film Festival.

Kim also directed several short films including "A Runner's High (2004)."

Credits : Shin Hae-in (hayney@yna.co.kr)

Source : Yonhap News

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Guest kdramafanusa

SCREEN

PIFF lines up Asian auteurs for omnibus project

11 October, 2009 | By Jean Noh

The Pusan International Film Festival (PIFF) has announced the production of an omnibus film about people falling in love in the city of Busan, to be executive produced by festival head Kim Dong-ho.

Korea’s Jang Joon-hwan (Save The Green Planet!), Thailand’s Wisit Sasanatieng (Tears Of The Black Tiger) and Japan’s Isao Yukisada (Crying Out Love In The Center Of The World) will each direct a short film segment for the omnibus Busan Project (working title).

Korean production company and distributor Sidus FNH has picked up worldwide rights to the film, with a first-look option for local distribution.

Busan Project will be produced by BALCON, a Busan-based production and distribution company founded and financed by PIFF in 2007.

Sidus FNH-BENEX Cinema Fund I and Busan City will each be investing a third of the total budget of $1.28m (KW1.5bn), and are looking to make up the third tranche from overseas investors.

BALCON president Oh Seok-geun said: “There have been city-based omnibus films before like New York and Paris Je T’aime, but this is the first time in Korea for an omnibus with international directors making shorts set in a certain city. Busan itself is very interested in becoming a cinema hub and this should also highlight the beauty of the city.”

Yukisada Isao, whose 2001 film Go! previously screened in PIFF said: “I feel like Busan is a second hometown to me. It was here that I learned about filmmaking beyond borders and started dreaming of making films like that. This project should be a realisation of that, and I am honoured to be part of it.”

Yukisada’s short will revolved around a cinematographer and an eligible bachelorette; Jang’s around a former archery athlete who feels compelled to play Cupid, and Wisit’s will be a karaoke musical featuring a Thai agent sent to kill someone in Busan, but who ends up falling in love.

The films will be shot this winter, aiming for a premiere in Cannes or Venice. The casts and crews will be pan-Asian, with post-production to be done at the recently opened AZWorks facilities in Busan.

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PIFF, EAVE join forces to boost Asian-Euro collaboration

11 October, 2009 | By Jean Noh

The Pusan International Film Festival (PIFF) and Europe’s EAVE organisation have announced the launch of “EAVE Ties That Bind”, a new development workshop for Asian and European film producers.

Also involved are the Friuli Venezia Giulia Film Commission and Italy’s Udine Far East Film Festival.

EAVE Ties That Bind will consist of two four-day workshops to be held in Udine (Italy) in April 2010 and Pusan (South Korea) in October 2010, bringing together ten film producers from Asia and Europe.

Each producer will be selected together with a feature film project in development and will work with leading industry experts from both continents during the two workshops, in groups and on an individual basis.

The workshop sessions will focus on a range of issues including script development, co-production between Asia and Europe, financing, marketing and promotion in the two regions.

The programme will culminate in Pusan 2010 with meetings between the workshop participants and leading Asian and European financiers and sales agents.

EAVE chief executive Alain Fountain said: “This is an opportunity for producers to come together, get to know each other, learn a common language and develop long-term creative and business partnerships and networks.”

PIFF director Kim Dong-ho said: “This should have the effect of creating a foundation for co-productions, something that is much needed in Asia, whether between Asian countries or between Asian and European countries. It should also create a better way for Asian films to get into the European market.”

The main funder of EAVE Ties That Bind is MEDIA International, a new EU fund established by the European Commission in 2009 to strengthen cultural and commercial relations between Europe’s film industry and filmmakers of other countries.

EAVE is holding a three-day “mini EAVE” workshop within the framework of the Asian Film Market in Pusan on October 11-13.

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France honors Jeon with cultural merit

Reporter : Wee Geun-woo | eight@10asia.co.kr

기사입력 2009.10.12 16:18 최종수정 2009.10.12 16:18

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From left, French trade minister Anne-Marie Idrac presents South Korean actress Jeon Do-yeon with France's Chevalier des Arts et Lettres. [Chae Ki-won/10Asia]

The French government saluted Jeon Do-youn for her contribution to France's culture, presenting the Cannes award-winner with a cultural merit of honor over the weekend.

The 36-year-old actress was awarded the Chevalier des Arts et Lettres medal by French Minister of Foreign Trade Anne-Marie Idrac at an event for French filmmakers on the sideline of this year's Pusan International Film Festival on Saturday.

"The reason we are happily gathered here today is to pay homage to actress Jeon Do-yeon," Idrac said, adding it is "now France's turn to express its acknowledgement to one whose charm has been recognized internationally."

Irdac continued to laud the actress, saying her acting is comparable to those of global actresses such as Sophia Loren, Isabelle Adjani and Simone Signoret, also previous winners of the silver pin.

The award is one of the three levels of cultural order established in 1957 by the France's Minister of Culture and confirmed in 1963 as part of the National Order by President Charles de Gaulle.

"My career is still insignificant and I think this is only the beginning," a humble Jeon said but also promising to try harder to return France's gesture.

The actress has received over dozens of top recognitions on both the small and big screen since her debut in 1990. She won the award for Best Actress at the 2007 Cannes Film Festival for her role in film "Secret Sunshine" by director Lee Chang-dong.

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(Center) South Korean actress Jeon Do-yeon [Chae Ki-won/10Asia]

Reporter : Wee Geun-woo eight@10asia.co.kr

Photographer : Chae ki-won ten@10asia.co.kr

Editor : Jessica Kim jesskim@asiae.co.kr, Jang Kyung-Jin three@10asia.co.kr

<ⓒ10Asia All rights reserved>

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Guest kdramafanusa

[piff.org / edaily/asiae (images)]

Gala Presentation

In My End Is My Beginning

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> MIN Kyu-dong

> World Premiere

STILL CUTS

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PROGRAM NOTE

When Jung-ha loses her husband in an accident, Naru, her husband’s secret lover, comes to her. Naru begs Jung-ha that she will do anything if only she will let her stay at her house. Jung-ha denies her at first, but eventually their strange arrangement of living together begins. A section of [in My End Is My Beginning] was introduced through the film, [Five Senses of Eros], which was released in Korea early this year. But the feature length version of the film shows ‘the end’ of a relationship facing catastrophic ruin. Also extreme, shocking performances by current top actresses, Uhm Jung-hwa and Kim Hyo-jin stand out. The two character’s entanglement with love and lust expand into a lesbian like relationship and leads to a new way of life at the end of the relationship.

DIRECTOR

MIN Kyu-dong

Graduating from the Korean Academy of Film Arts, MIN won various awards with his short films, [Herstory] (1995) and [seventeen] (1997) at various short film festivals. In 1999 he co-directed [Momento Mori] with KIM Tae-yong and made his feature film debut. Later, he directed [All for Love] (2005) and [Antique] (2008) which was invited to the Berlin Film Festival last year.

CREDITS

Director: MIN Kyu-dong

Producer: MIN Jin-soo 민진수

Cast: UHM Jung-hwa 엄정화,KIM Hyo-jin 김효진,HWANG Jung-min 황정민

Screenwriter: MIN Kyu-dong 민규동

Cinematography: KIM Byung-seo 김병서, KIM Jun-young 김준영

Art Director: JEON Kyung-ran 전경란

Editor: SUNG Su-ah 성수아

Sound: CHOI Tae-young 최태영

Music: KIM Jun-sung 김준성

Production Company: Soo Film

3F, Jinju Building, 559-6 Sinsa-dong, Gangnam-gu, Seoul, 135-890, Korea

82 2 514 3666

82 2 514 3668

soofilm@yahoo.co.kr

Sales Agent: Showbox/ Mediaplex, Inc.

2F. Mediaplex 177-2 Dogok-dong, Gangnam-Ku, Seoul, 135-270 Korea

82 2 3218 5649

82 2 3444 6688

sales@showbox.co.kr

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Kim Hyo-Jin, director Min Kyu-Dong, Uhm Jung-Hwa

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Korean Cinema Today - Panorama

Director Park Chan-Wook's Thirst (October 11, 2009)

Director Park Chan-Wook, Song Kang-Ho, Kim Hae-Sook

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Guest kdramafanusa

[October 12] Directors Talk with Choi Dong-Hoon, Hur Jin-Ho, Ryu Jang-Ha, Hwang Gyu-Deok

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Choi Dong-Hoon, Hur Jin-Ho, Ryu Jang-Ha, Hwang Gyu-Deok

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Movie 'Tazza' director Choi Dong-Hoon

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'Melodrama Genius' Hur Jin-Ho

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Movie 'For Eternal Hearts' director Hwang Gyu-Deok

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Movie 'Hello Schoolgirl' director Ryu Jang-Ha

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Edaily

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Guest kdramafanusa

SCREEN

Paju

12 October, 2009 | By Darcy Paquet

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Dir: Park Chan-ok. South Korea. 2009. 110 mins.

Korea’s Park Chan-ok takes a big step forward with her second feature Paju, a richly layered drama about the complicated relationship between a young girl and her brother-in-law. Close to five years in the making, Paju is intimate in scale but forcefully ambitious in its rich imagery and confident handling. The critical buzz surrounding its premiere at Pusan suggests a healthy festival career ahead, although this challenging work could have a hard time finding its feet commercially.

This should help to cement Park’s reputation as one of Korea’s most talented art-house directors.

The film goes out in South Korea on October 29, when it can expect a better-than-average arthouse release, backed by warm notices, with particular attention to the fine performances by lead actors Lee Sun-kyun and Seo Woo.

Park already impressed with her 2002 debut Jealousy Is My Middle Name, winner of a Tiger Award at Rotterdam. Paju, which adopts a more female perspective, should help to cement her reputation as one of Korea’s most talented art-house directors.

The film’s plot is told in a sequence of flashbacks, not always in order, reflecting how a series of freak accidents and betrayals from the past still loom large in the main characters’ lives.

Joong-shik (Lee) is a young activist wanted by the police in 1996. After inadvertently causing a horrific injury to his lover’s infant son, he flees to the city of Paju, a quickly developing satellite town outside Seoul. There he meets and marries a woman named Eunsoo (Shim Yi-young) who lives with her younger sister Eunmo (Seo). Before long, Eunsoo dies in a gas explosion.

In 2003, Eunmo returns to Paju after spending her university tuition on an extended trip to India. There she is reunited with Joong-shik, who heads a group of squatters battling (with rocks and Molotov cocktails) against the demolition of an apartment complex. Her feelings about her brother-in-law, which had always been complicated, grow more so when she begins to suspect him of having killed her sister.

Park’s deliberately obscure storytelling technique causes some confusion in the opening reels, and viewers must work hard in order to orient themselves. However as the pieces start falling into place, the characters develop an unusual psychological depth which makes their interactions riveting. Joong-shik’s motivations become clearer by the end, but Eunmo retains an enigmatic quality that makes her a fascinating character to watch.

Young actress Seo Woo should receive a major boost to her career from this performance, after winning various local awards last year for her turn as the daughter in Crush & Blush (2008). This also marks the most high-profile role to date for Lee Sun-kyun (Sa-Kwa), who effectively portrays the crushing sense of guilt and responsibility that characterises Joong-shik.

One of Paju’s few weaknesses is that the physical staging of both of the film’s key accident sequences seems slightly off, lessening their impact. Otherwise, technically the film is good. A series of pitched battles between apartment squatters and hired thugs is especially striking.

Well-known DoP Kim Woo-hyung (A Good Lawyer’s Wife) imparts a grainy, unsaturated look to the not-quite-urban, not-rural landscape of Paju. Music by Jang Young-kyu, used sparsely, is also effective.

Production company

TPS Company

Domestic distributor

MK Pictures

International sales

M-Line Distribution

+ 82 2 796 2426

Producers

Kim Ju-kyung

Jaime Shim

Screenplay

Park Chan-ok

Cinematography

Kim Woo-hyung

Production design

Kim June

Music

Jang Young-kyu

Main cast

Lee Sun-kyun

Seo Woo

Shim Yi-young

Kim Bo-kyung

Lee Kyung-young

Lee Dae-yeon

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Kick Off, Trouble take New Currents Award at PIFF

16 October, 2009 | By Jean Noh, Screen

The 14th Pusan International Film Festival closes today (Oct 16) with the top New Currents award going to Shawkat Amin Korki's Kick Off and So Sang-min's I'm In Trouble.

The inaugural Flash Forward award went to Zaida Bergroth's Last Cowboy Standing.

The New Currents jury, headed by French filmmaker Jean-Jacques Beneix, and also including Kim Hyung-koo, Penek Ratanaruang, Territ Kwan and Yesim Ustaoglu, noted that the competition films showed a certain darkness and uncertainty about the future, but also a concern for the era we live in and the meaning of humanity and values.

One of the few buzz films of the festival, I'm In Trouble, humorously follows a young poet's wanderings while he delays joining the workforce. The film is a graduation project from the Korean Academy of Film Arts (KAFA)'s Advanced Program, which started producing feature films last year -- including Members Of The Funeral which was another PIFF buzz film and winner in 2008.

Kick Off follows a Kurdish Iraqi community as it gears up for an inter-community football game. The jury described it as a "simple movie and yet full of imagination and strength" which "consecrates the emergence of a director whose talent is unanimously greeted by the jury."

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Headed by veteran actress Kang Soo-yeon, the Flash Forward jury commented that Last Cowboy Standing's "overall storytelling, acting and directing is carefully constructed and shows the subtlety of a female director, as well as strong mise-en-scene" and also lauded the director's potential.

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The festival screened a record 355 films with stronger star power than usual -- with guests including Josh Hartnett, Tilda Swinton, Lee Byung-hun and Jang Dong-gun.

Second-time director Park Chan-ok's Paju was the standout of the festival, but only took the NETPAC award.

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PIFF, which brands itself as a festival of discovery, continues to have strong points and weak points. It boasts enthusiastic audiences, high-profile guests and is a key event to network and have conversations about films and business.

But the general atmosphere this year was subdued -- partly because guests had to contend with the logisitics of events and screenings split between three areas -- Nampo-dong, Haeundae Beach and the new Centum City shopping area.

PIFF 2009 Full List of Awards:

1. New Currents Award:

Kick Off -- Shawkat Amin Korki (Iraq, Japan)

I’m In Trouble -- So Sang-Min (Korea)

*Special Mention: Squalor -- Giuseppe Bede Samperdro (Philippines)

2. Flash Forward Award:

Last Cowboy Standing -- Zaida Bergroth (Finland, Germany)

*Special Mention: Miss Kicki -- Hakon Liu (Sweden, Taiwan)

3. Sonje Award for Short Films:

Somewhere Unreached -- Kim Jae-won (Korea)

Rare Fish -- Basil Vassili Mironer (Singapore, Indonesia)

4. PIFF Mecenat Award for Documentaries:

Earth's Woman -- Kwon WooJung (Korea)

The Other Song -- Saba Dewan (India)

5. FIPRESCI Award:

Kick Off -- Shawkat Amin Korki (Iraq, Japan)

6. NETPAC Award:

Paju -- Park Chan-ok (Korea)

7. KNN Movie Award (Audience Award):

Lan -- Jiang Wenli (China)

The 14th PIFF Final Statistic Data

Total admissions: 173,516

Accredited Guests (Press excl): 6,400

Korea: 3,178

Overseas: 860

Cinephiles: 1,388

Asian Film Market: 974

Press: 2,202

Korea: 1,832

Overseas: 370

Screenings

Number of Films: 355

World Premieres: 98

International Premiere: 46

Total amount of Screenings: 803

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Photos: credit as labelled

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