[Movie 2010] The Unjust / Bad Deal 부당거래

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credit: rubie

http://www.movieweek.co.kr/article/article.html?aid=24663

http://www.movieweek.co.kr/article/article.html?aid=24664

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http://www.movieweek.co.kr/article/article.html?aid=24869

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13th Director's Cut Awards (December 22, 2010)

Best Director: Ryu Seung-Wan (The Unjust)

Best Actor: Choi Min-Shik (I Saw the Devil)

Best Actress: Seo Young-Hee (Bedevilled)

Best New Director: Jang Cheol-Su (Bedevilled)

Best New Actor: Song Sae-Byeok (The Servant)

Best New Actress: Lee Min-Jung (Cyrano Agency)

Best Producer: Lee Tae-Hun (The Man From Nowhere)

Best Independent Movie Director: Hong Hyung-Sook (The Border City 2)

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Rain, Girls Generation win Seoul Art Awards

By Lee Hyo-won, Korea Times

02-15-2011 18:58

Pop singers Rain and Girls’ Generation, and actress Jeon Do-yeon, among other high-profile stars have been chosen as grand prize winners of the 2nd Seoul Art and Culture Award.

The awards, sponsored by the Ministry of Culture, Sports and Tourism and Seoul City, features 11 categories and recipients were revealed Monday ahead of the ceremony later this month, in Seoul.

Rain was chosen for the grand prize in the world star category while Girls’ Generation topped the pop singer awards and Jeon won the same top prize for movie actors. Among TV drama actors, Lee Beom-soo won the grand prize for his role in SBS’ “Giant” while musical star Chung Sung-hwa was noted for his work in “Hero.”

Lee Soo-man of SM Entertainment will also receive the grand prize for pop music producers while filmmaker Ryu Seung-wan will receive a trophy for his crime drama, “The Unjust.”

The star-studded award ceremony will take place at the Gymnastic Stadium, Olympic Park at 7 p.m. on Feb. 28. Girls’ Generation, Kim Duk-soo’s “samulnori” (traditional percussion) troupe, baritone Seo Jung-hak, the Seoul Philharmonic Orchestra and the National Police Agency theater troupe will give performances. The ceremony will be attended by specially invited guest including multicultural families and handicapped individuals.

Rain, Jeon Do Yeon, and Lee Bum Soo to Win at Seoul 2011 Art Awards

KBS Global [2011-02-16]

Singer Rain and actors Jeon Do Yeon and Lee Bum Soo have been selected as the winners of the 2nd Seoul 2011 Art Awards.

The association for Korean Art and Culture announced the award winners in a total of eleven categories at the Seoul 2011 Art Awards on February 15, including Rain in the category of World Star Grand Award and Girls Generation in the category of Popular Singer Award. Actress Jeon Do Yeon and actors Lee Bum Soo and Jeong Sung Hwa have been selected as the winners in the categories of movies, TV dramas, and musicals, respectively. In addition, the representative of SM Entertainment, Lee Soo Man, has been selected as the winner in the category of popular music producer, and producer Kim Young Jin, who had directed the KBS drama for disabled people entitled “Thank You For Making Me Smile,” will garner the special award.

In addition, the producers of the MBC documentary program “Tears In the Amazon,” Kim Jin Man and Kim Hyun Chul (documentary award), the writer of the KBS drama “Bread, Dream, and Love,” Kang Eun Kyung (drama writer award), the production director of the MBC drama “Dong Yi,” Lee Byung Hoon (drama director award), and the director of the movie “The Unjust,” Ryu Seung Wan were included in the list of the winners in each category.

The Seoul 2011 Art Award ceremony, which is supported by the ministry of culture, sports, and tourism and Seoul city, will be held at the Olympic Gymnasium on February 28 at 7 pm. People from child heads of households, the disabled, and heads of multicultural families will be invited for the ceremony. During the ceremony, many commemorating events will be performed by Girls Generation, Kim Deok Soo’s Korean traditional percussion quartet, baritone Seo Jeong Hak, the Seoul Philharmonic, and the National Police Agency’s whistle performance team.

2nd Seoul Art and Culture Awards (February 28, 2011)

List of winners @ epikcurses [YouTube] [YouTube]

More photos: http://blog.naver.com/sac_art/60125110351 | http://blog.daum.net/sac_art/8944358

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Dirty deals sell well in 'Unjust' conspiracy

By Lee Hyo-won, Korea Times

10-21-2010 17:59

Hwang Jung-min, right, appears in a scene from "The Unjust." The new conspiracy drama by Ryu Seung-wan co-stars Ryu Seung-beom and Yu Hae-jin. /Courtesy of CJ Entertainment

Theatrics is not limited to show business ― a scriptwriting prosecutor, a police officer with a knack for producing a convincing mise-en-scene and a sponsor with acting skills can team up to stage the perfect conspiracy.

"The Unjust" takes the red-hot issue of sponsored prosecutors and spins it into solid, star-powered entertainment.

While devoid of the usual hip action that defined his earlier works, Ryu Seung-wan’s new film keeps the intrigue alive. It retains a critical view of social ills but does not drown in zealous preaching; rather it gives the noir subject matter an incisively witty and at times humorous ― though never light ― treatment, which is rendered all the more compelling by its talented cast.

"The Unjust" is essentially a story about natural selection in the urban jungle, an imperfect place where corruption pierces through the heart of law enforcement bodies.

A terrorizing serial murder seizes the entire country. But when there is no one to blame for the crime, and the pressure of direct presidential orders and the prospects of a promotion loom big, well, then, there are other ways to close the case: hire an actor and put on a show.

Cheol-gi (Hwang Jung-min), the police officer who is in charge of the case, is the best in the business but lacking the right pedigree, he has not been able to climb up the ladder. As the movie’s catch phrase says, "If there is no criminal, then make one," and when his desperate boss promises him a promotion Cheol-gi decides to jump right into a dirty deal to fool the public. He uses his sponsor, Seok-gu (Yoo Hae-jin), the head of a construction company, to hire an actor and the curtains close to a standing ovation.

Meanwhile, prosecutor Ju Yang (Ryu Seung-beom) has been sponsored by a real estate tycoon. But when Cheol-gi arrests his sponsor, Yang is determined to avenge the policeman for cutting off the generous financial support and starts digging around in order to retaliate. Just in time, Ju is asked to cover the serial murder case and during the course of the investigation, he discovers the illicit deal between Cheol-gi and Seok-gu, and proposes an arrangement of his own to Cheol-gi.

The narrative is largely propelled by the characters and their intentions as they become engaged in a complex web of power struggle and raw human desires. The film makes it clear why each character wants to become a part of the conspiracy but refrains from giving away all the facts and figures, whether or not they are telling the truth. It reveals just enough to keep the audience interested.

As fit for a crime drama, "The Unjust" surprises the viewer with one twist after another. However, such turns are far from providing cathartic thrills ― they rather evoke a sense of pity as they depict without a blink of an eye the weak-willed and violent nature of man.

Moreover, the power struggle is most interesting because there is no dominant power, as everyone is just snooping around, trying to capitalize on the weak points of others.

The fact alone that the director’s younger brother-cum-actor Ryu and the two other irreplaceable actors are joining forces has incited a great expectation for the film, and fans will not be disappointed.

In theaters Oct. 28. Distributed by CJ Entertainment.

hyowlee@koreatimes.co.kr

The Unjust

11 January, 2011 | By Darcy Paquet, Screen Daily

Dir: Ryoo Seung-wan. S Korea. 2010. 119mins

With The Unjust (Budang-georae), his seventh feature, South Korean director Ryoo Seung-wan has hit the sweet spot between smart genre filmmaking and cutting social commentary. After winning over critics and taking in $18.7 million in its native Korea last fall, it is now scheduled to receive its international premiere in Berlin’s Panorama.

Working off another writer’s script for the first time, Ryoo has created a complex work that begins as a crime thriller, but soon leaves the crime behind to focus on the characters and the corrupt system they inhabit. It can reasonably expect continued festival exposure and better-than-average sales for an Asian genre film.

With the nation outraged over the slaying of several elementary school girls, an errant policeman kills the prime suspect before any hard evidence is secured. Feeling pressure from the president himself, the police superintendent turns to Captain Choi Cheol-gi (Hwang) and urges him to wrap up the case quickly.

Helped by a gangster-turned-businessman Jang (Yoo Hae-jin in a great supporting role), Choi arranges for an “actor” to be found and charged with the crime. However this action unwittingly sets off a chain of events affecting an ambitious public prosecutor (Ryoo), who receives backing from a powerful rival of Jang’s. Soon, the police captain and the public prosecutor become locked in a bitter conflict.

Particularly impressive is the performance turned in by the director’s star younger brother Ryoo Seung-bum, who expresses both the smug sense of entitlement and the paranoia felt by a high ranking bureaucrat set on advancement. Fast-paced and skilfully edited together, The Unjust succeeds in taking familiar observations about bureaucracy and corruption and lending them a new poignancy.

Production companies: Film Train, Filmmaker R & K

International sales: CJ Entertainment, www.cjent.co.kr/eng

Producers: Han Jae-deok, Yeo Mi-jeong

Executive producers: Gu Bon-han, Kim Yun-ho, Gang Hye-jung, Ryoo Seung-wan

Screenplay: Park Hun-jeong

Cinematography: Jeong Jeong-hun

Production designer: Choi Ji-yeon

Editor: Kim Jae-beom, Kim Sang-beom

Music: Jo Young-wook

Main cast: Hwang Jung-min, Ryoo Seung-bum, Yoo Hae-jin, Chun Ho-jin, Ma Dong-seok, Jo Yeong-jin, Lee Seong-min

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The Unjust (부당거래)

South Korea

Contemporary crime-action

Directed by Ryoo Seung-wan (류승완)

By Derek Elley, Film Business Asia

Sat, 19 February 2011, 17:43 PM (HKT)

Hard-driven drama of crime and corruption is leavened by an operatic black humour. Genre events, plus ancillary.

Story

Seoul, the present day. After the rape and murder of five elementary schoolgirls, the police have still failed to apprehend the serial killer. After one suspect, Yu Min-cheol (Kim Seung-hun), is shot dead — but with no conclusive proof he was guilty — the country's president becomes involved and adds to the pressure on the police to solve the case. Choi Cheol-gi (Hwang Jeong-min), a brilliant but sidelined detective at the Metropolitan Investigation Services who has just brought down corrupt property developer Kim Yang-su (Jo Yeong-jin), is suddenly taken off the case and Kim, thanks to his powerful connections, is released and his case closed. Choi is assigned instead to the serial murders and finally promised a promotion if he can get the police force off the hook by bringing the case to a satisfying conclusion. Choi re-examines the whole case and, with the help of Kim's opportunistic rival, Jang Seok-gu (Yu Hae-jin), decides to stitch up one of the other suspects as the killer. He chooses Lee Dong-seok (Woo Don-gi), a schoolbus driver with a retarded wife (Lee Mi-do) and young daughter (Park Ha-yeong) who has a past criminal record that includes child molestation. However, Choi and his team are secretly monitored by Ju Yang (Ryu Seung-beom), a Seoul District public prosecutor in the pocket of Kim, who is looking for payback on Choi for bringing him down and losing a construction project to Jang. One evening, however, Kim is stabbed to death while playing golf with Ju, and Ju receives embarrassing photos of himself and Kim together. Suspecting that Choi has fitted up Lee in the serial-murder case, Ju makes his suspicions known to his superiors but cannot present any hard evidence. After Ju is again made to look stupid when Lee mysteriously hangs himself in his holding cell, he launches a blitzkrieg investigation into Choi's whole career and family, and a deadly war breaks out between them, with Jang playing both sides off against each other.

Review

With a fast-moving plot set among tough low-lives, police and businessmen, The Unjust (부당거래) marks a return to form by 37-year-old pulp-action director Ryoo Seung-wan (류승완) after his disappointing retro spoof Dachimawa Lee (다찌마와 리 − 악인이여 지옥행 급행열차를 타라, 2008) and the mixed success of The City of Violence (짝패, 2006). Ryoo has always tempered his liking for physical violence with a rough, cartoony sense of humour and the same is on display here, with younger brother Ryu Seung-beom (류승범) again taking a leading role — as a wild, long-haired public prosecutor who's so unbelievable in realistic terms that it raises the whole film to an entertainingly irreal level. Whether based in the grungy present (피도 눈물도 없이, No Blood No Tears) or pure fantasy (아라한, Arahan), Ryoo's movies are essentially operatic mangas, and The Unjust, with corruption seeping from every pore of South Korean society, is no exception. The film's Korean title translates as the cynical Unfair Trading and, with hardly any of the characters uncompromised, it sums up the movie much better than the English one.

From Jo Yeong-jin (조영진) as a well-connected property developer to Ma Dong-seok (마동석) as a loyal police lieutenant, the casting oozes character from top to bottom, with even tiny roles like a suspect's retarded wife (Lee Mi-do 이미도) succinctly sketched. But the film is driven by its three leads: Ryoo as the corrupt public prosector, South Korean cinema's favourite plug-ugly Yu Hae-jin (유해진) as a ruthless "businessman" and, last but not least, Hwang Jeong-min (황정민, You Are My Sunshine 너는 내 운명, Bloody Tie 사생결단) as the loose-cannon, maverick policeman — a role he can play with his eyes closed but here actually fits the versatile actor to a tee.

The movie's main problem is its plot, which is so hard-driven and compact, and with so many characters playing smoke and mirrors, that it requires razor-sharp concentration to follow. Though it does, unlike many South Korean action movies, actually make sense, there are times when a little less complexity would have freed up the viewer to sit back and relish its cleverness rather than expend energy on simply keeping pace with the multiple levels. And believable psychology — always a weakness in Ryoo's movies — is largely ditched. The characters are pawns moved around the playing board at the writers' convenience, with no backgrounding or private lives.

Action staged by maestro Jeong Du-hong (정두홍) has a gritty feel, driven along by Jo Yeong-wook's (조영욱) noisy, propulsive score and experienced d.p. Jeong Jeong-hun's (정정훈) mobile widescreen images. The Unjust is not a crime-action classic, but proves Ryoo still has juice left in him.

The Unjust

Bu-dang-geo-rae

(South Korea)

By Peter Debruge, Variety

Posted: Tue., Feb. 22, 2011, 5:02pm PT

Berlin

A CJ Entertainment presentation of a FilmTrain/Filmmaker R&K production. (International sales: CJ Entertainment, Seoul.) Produced by Kim Yoon-ho, Koo Bonhan. Executive producer, Katharine Kim. Co-producers, Kang Hye-jeong, Ryoo Seung-wan. Directed by Ryoo Seung-wan. Screenplay, Park Hoon-jung.

With: Hwang Jung-min, Ryu Seung-bum, Yoo Hae-jin, Jo Yeong-jin,, Jeong Man-shik, Oh Jeong-se, Song Sae-byeok, Goh Seo-heui, Cheon Ho-jin.

A needlessly complicated but otherwise Hollywood-slick indictment of corruption at every level of Korea's infrastructure, "The Unjust" leaves no cog in the machinery unbent. Cops, businessmen, press and public prosecutors alike let the ends justify the means in this elaborate web of broken rules, centering on a high-profile murder case so desperately in need of closing that police brass order an ambitious detective to find someone, guilty or not, to take the rap. Pic should travel well on the genre circuit, thanks to director Ryoo Seung-wan's Western-styled approach, garnished by a handful of distinctly Korean action scenes.

Good luck identifying a clear good guy in "The Unjust." The film's two main rivals both have the law on their side, but abuse their positions for their own ends: Hwang Jung-min plays Choi Cheol-gi, a cop who agrees to cook the city's highest profile investigation after being passed over for a promotion one too many times. As top prosecutor Joo Yang, Ryoo Seung-bum oozes the cocky entitlement that comes with the territory, while compromising his integrity by rubbing elbows with corrupt real-estate developer Kim Yang-su (Jo Yeong-jin).

When Choi unwittingly sets back a major business deal by investigating Kim, Joo vows to make things uncomfortable for the officer, instructing his team to dig up dirt on Choi, who picked a particularly bad time to make an enemy of the prosecutor. Not only has the police department just launched its own internal investigation on the cop, but Choi has agreed to stick his neck out after the commissioner general (Cheon Ho-jin) directly orders him to deliver a patsy for a highly publicized serial killer case.

If the setup sounds rather convoluted, that's just the half of it, as screenwriter Park Hoon-jung piles on the twists and digressions, including a karaoke-bar confrontation between Choi and his deadbeat brother-in-law (Song Sae-byeok) that seems like little more than an excuse for a good Korean richard simmons-kicking. Though some of the minutiae may be lost in translation (the subtitles featured at the Berlin Film Festival were distressingly spotty), shot for shot, director Ryoo's aesthetic follows the template of a Hollywood studio project, owing largely to stellar contributions by "Oldboy" d.p. Chung Chung-hoon and composer Cho Young-wuk, whose terrific score alternates between ticking-clock-style suspense and variations on a grand recurring theme.

Ryoo -- considered an action prodigy in Korea, a reputation that began with his 2000 debut "Die Bad" -- delivers more restrained fight scenes here than in previous films, though the altercations get satisfyingly loonier as the pic unfolds. For the climax, he allows Choi to come completely unhinged, orchestrating a bonkers showdown that expertly blends tension, tragedy and incredibly dark humor.

In a stroke of poetic justice, this final reckoning unfolds at the building site that has been giving Choi and Joo so much grief. While Joo has taken sides with Kim, Choi has cast his lot with Kim's direct competition, criminal-turned-construction tycoon Jang Seok-gu (Yoo Hae-jin), a bad-news ally with just the right connections to help the police find an "actor" to take the fall in their murder investigation.

It would probably be easier for the cops to find the real serial killer than go to so much trouble to make their "unjust" arrest. But Ryoo doesn't much care about the investigation itself. Instead, the helmer focuses his energy on establishing nuclear-scale hubris across his ensemble of actors, setting up secret meetings all over Seoul, ranging from under bridges to the tops of skyscrapers, then watching the characters squirm when their best-laid plans go wrong.

Camera (color, widescreen), Chung Chung-hoon; editor, Kim Sang-bum, Kim Jae Bum; music, Cho Young-wuk; production designer, Choi Ji-youn; costume designer, Choi Se-yeon; sound (Dolby Digital), Kim Suk-won, Kim Chang-sub; sound designer, Bluecap. Reviewed at Berlin Film Festival (Panorama), Feb. 15, 2011. Running time: 120 MIN.

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March 21, 2011

10 Korean films invited to Hong Kong film fest

Reporter: Lucia Hong luciahong @ Editor: Jessica Kim jesskim @ <Ⓒ 10Asia All rights reserved>

Official website of the Hong Kong International Film Festival

Ten Korean films have been invited the 35th annual Hong Kong International Film Festival, which kicked off in Hong Kong over the weekend.

The official website of the Hong Kong International Film Festival announced that Korean film "Dance Town," helmed by director Jeon Kyu-hwan and starring Ra Mir-an and Oh Seong-tae, will compete at the fest against other international releases.

Meanwhile, nine Korean films including "Oki's Movie," "Come Rain, Come Shine," "The Man from Nowhere," "The Unjust," "Anti Gas Skin," "Self Referential Traverse: Zeitgeist and Engagement," "Bleak Night ," "The Journals of Musan" and "I Saw the Devil" will be screened during the event.

The Hong Kong International Film Festival is a platform for filmmakers, professionals and filmgoers from all over the world to launch and experience new work in the industry. Attendees at the festival will be able to take part in seminars, conferences, exhibitions and parties revolving the film community.

The event is also a premiere platform to launch films into the Greater China region and the Asian market. The festival kicked off on March 20 and will last till May 4.

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March 21, 2011

The Unjust: Film Review

by Maggie Lee hollywoodreporter.com

A breathlessly-paced thriller that swings a mighty blow against state and corporate corruption in Korea.

A crime thriller that pits an errant, bellicose cop against a miscreant, maniacally ambitious prosecutor, "The Unjust," achieves a happy marriage between commercial savvy and artistic integrity in its hard-hitting depiction of Seoul as a city of corruption.

A crime thriller that pits an errant, bellicose cop against a miscreant, maniacally ambitious prosecutor, The Unjust, achieves a happy marriage between commercial savvy and artistic integrity in its hard-hitting depiction of Seoul as a city of corruption. Social realism rarely sits comfortably with technical razzle-dazzle, punchy storytelling and larger-than-life star performances, but Ryoo Seung-wan pulls it off with direction that balances cool cynicism with seething moral outrage.

According to Ryoo, the plot is partly derived from several recent government scandals. The shocking examples of social injustice on display probably touched a raw nerve among local audiences, bringing him $18.7 million’s worth of ticket revenue. Asian genre fans familiar with Ryoo’s repertoire of macho action films (Crying Fist, City of Violence) may need time to adjust to the way he turns his emphasis from physical combat to a war of wills.

The catalyst in The Unjust is an unsolved series of schoolgirl murders that is rocking police credibility. The police’s crisis management proves that citizens’ mistrust is totally justified – Captain Choi Cheol-gi (Hwang Jung-min) is put in charge and told to find a fall-guy for them to stage a media stunt. Choi enlists the help of Mafioso-cum-property-magnet Jang Seok-gu (Yoo Hae-jin). By doing so, Choi becomes Jang’s pawn in his land-bidding wars against another corporate shark Kim (whom Choi put behind bars sometime ago). This triggers the hostility of Kim’s protégé prosecutor Joo Yang (the director’s brother Ryoo Seung-bum), who retaliates with unscrupulous tactics.

The film evinces a deep irony: while the initial crime continues to elude closure at the end, everyone else, especially defenders and enforcers of law behave like pathological criminals. Arguably Korea’s most masculine action director, who excelled in shooting boxing, gang fights and martial arts, Ryoo turns The Unjust into his vehicle for a most scathing rebuke of machismo. In his predominantly male world tempers are almost always on boiling point, fueling the narrative’s nervous tension like a volcano in perpetual eruption.

What sets this apart from other Korean thrillers exposing corruption like the Public Enemy series is the anti-heroic and gritty nature of the action. There is not a single mano-a-mano fought as a test of strength or honor – just a cycle of violence whereby everyone takes it out on whoever’s lower down the pecking order.

The tough personalities and fiery clash between the lead roles maintain a grip on the audience till the end. They are matched not only in intelligence, but in egoism, selfishness and ruthlessness. Choi’s increased desperation to cover his tracks makes him a tragic anti-hero. He is neatly foiled by Joo, who is so ready to be bad as long as it advances his career. But ultimately, Choi and Joo are engulfed by the greater rivalry between judiciary and police departments. The three leading men turn in flaming performances. Ryoo trumps them by giving unthinkable gradations in vileness.

Like a recklessly speeding car, the narrative pacing barely allows the audience to take in screenplay’s intricate plotting, which neatly unravels cause and effect. Technical credits, especially cinematography, are excellent -- dynamic swooping shots and tight handheld camerawork exaggerates spatial contrasts to symbolize class inequality.

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http://www.koreanfilm.org/kfilm10.html#unjust

The Unjust

A serial killer rapes and dismembers several elementary school girls, enraging the public. After accidentally killing the prime suspect without any concrete evidence, and feeling pressure from the president himself, the police make a frantic attempt to wrap up the case rather than solve it. For Choi Cheol-gi (Hwang Jeong-min, Bloody Tie, Blades of Blood), the captain of the Wide-Area Criminal Investigation Squad, who has been passed over for promotion for his lack of police academy background and recently been investigated by Internal Affairs for his connection with gangster nemesis Jang Seok-gu (Yoo Hae-jin, Tazza: The High Rollers, Moss), this is the chance of a lifetime. He forces Seok-gu to make one of the suspects into an "actor," a scapegoat for the public, while guaranteeing Seok-gu's contract for a skyscraper by preventing his rival from entering the competition. However, it just so happens that the rival he displaced is a sponsor of an ambitious prosecutor Joo Yang (Ryoo Seung-beom, Crying Fist, The Servant), who now becomes another player in the game and eager to take down Cheol-gi, for the sponsor's sake at first but for his own pride and safety after waging a few nerve wars.

Written by prominent screenwriter Park Hoon-jeong (I Saw the Devil) and revised by the director himself, Ryoo Seung-wan's seventh feature film The Unjust is filled with familiar elements of the crime thriller genre. Corrupted cops beat the hell out of small time crooks, sometimes for making them into stool pigeons and other times just for fun. Former street mobsters struggle to establish themselves as legal businessmen while giant corporations are eager to do what the mobsters did in order to expand their territories. Bribed government officials turn a blind eye to illegal businesses, which will destroy the few remaining good guys who still believe in making an honest living. That is, if there are such men. All the people seem to be rotten to the heart, and the only role for the innocent is to play the hopeless victim. Even the environment itself is cold and cruel. Upon the amoral space where no boundary between good and evil remains, inhumane skyscrapers made of concrete and steel tower over the human insects.

As typical as these crime genre elements may seem, however, it is not easy to take them to the level of critical social analysis. After decades of abuse all over the world, they are often presented as too superficial and iconic to do more than add generic flavor to a film. Many "serious" crime pictures in fact focus more on high octane shootout sequences or thrilling cat-and-mouse play, to say nothing of simpleminded action flicks like Steven Seagal's. Even if a film does give a social comment, it's too easy for the comment to revert into another generic convention, something like "our city is one hell of a harsh place, and people in it live only for their material desires," which is too familiar to accept seriously. I'm not criticizing, or complaining that the ideal goal of a crime thriller should be an earnest analysis of our society. I'm just emphasizing how hard it is for one to reach that level.

Given this and considering the director's own reputation as a genre film buff and an actionmeister, it is surprising that The Unjust achieves that rare goal, if not perfectly. Often considered as a tense character drama, the film is actually more about the relationship between characters. Remember those diagrams explaining the dynamics between characters in a TV drama, using arrows to say that A loves B who hates C who has been married to D whom A had dumped before, while B and D are having an affair and so on? The timing, direction and force of those arrows are what most concerns The Unjust. Setting aside the strong performance of the cast, each character doesn't display a unique personality but remains as a stereotype in the good sense. Their occupational, social and class roles remain bigger than their lives. They must act and react according to the rules of the game. Therefore, the dynamic, the rhythm of their interplay is more important than individual events. This is a cinema of vectors.

This is where one of Ryoo's underappreciated values stands out. He has always been deeply concerned about how to join separate scenes. Relying on relations between lines, visual similarity, and audio continuity, or creating perceptual suspense by omitting, delaying and intercutting narrative information, he weaves different scenes together as if they were notes in the same measure. By doing so, a scene becomes a reply to the one preceding it, and the whole film in the end becomes a fiery session between schemers -- instead of punches and kicks, Ryoo choreographs with tricks and schemes. This sense of exchanging stratagems reminds audiences of the social network itself: how closely related we are in this structure, how hard it is to get out of the network, and thus, how fatal the small deception of others can be. This might sound not far removed from the typical moral lessons of other crime pictures, but the point is that The Unjust shows how the machine of society actually works. In that sense, we might even say that the predecessor of this film is none other than Fritz Lang, who was interested in the structure of the modern world and distilled his interest into a sheer construction of a network by making a protagonist of the city itself in M.

If there's a difference between Ryoo and Lang, it's that Ryoo still takes much humane interest in the nodes of the network. Although none of the characters are likable here, we can sense the film's concern for the stress and burdens placed upon them, not unlike those felt by salarymen from anywhere. It would be only a waste of time to talk all about the brilliance of each cast member in expressing them, but I cannot help championing Ryoo Seung-beom's Joo Yang at this point. Among the main characters, Joo Yang is the only one who doesn't show any urgent need or devouring desire. His life and career is stable, connected to higher power by marriage and sponsored by a wealthy businessman. Still, he should be a player only because he occupies the same ground. And he knows it, and he does it well. At first, harassing his inferiors, Ryoo seems to overact a bit on the boundary between humor and hysteria. But soon we realize that it's a part of his character, coming from his strain felt as a sort of middle manager and his pride as a high-class power elite. Still seemingly a young star in his twenties as his debut in Die Bad, Ryoo's portrayal of the arrogance, rudeness and weariness of stereotypical Korean middle-aged men is stunningly accurate. In one scene, for instance, while bursting out in front of his irritatingly honest investigator, Joo Yang suddenly takes a deep breath, calms himself down and tries to persuade his inferior with a gentler tone of voice, as if he's afraid of losing his dignity on such a minute matter, but only to burst out again louder at the end. Ryoo's body language and control of space between lines here made gooseflesh out of me, invoking the image of the team leaders, managers, directors of any public organization. I can earnestly say that Ryoo's acting alone embodies the core of the film, the stress pervading in the network.

Thus, it is not surprising that The Unjust becomes problematic when it deals with a vector struggling to get out of that network, portrayed by more typical Ryoo Seung-wan like, sympathetic, lower-class character, Cheol-gi. He has all the qualities of the classical tragic hero. Surrounded by flawed family and teammates, he struggles to bear their troubles and conflicts with decisions forced on him from higher powers. Once film critic Lee Dong-jin said Ryoo Seung-wan's films seem to be obsessed with patriarchal responsibility and Cheol-gi is the exact example of that patriarch. In the end, he becomes ready to explode and the third act of the film allows him to explode with physical violence and film-noirish turns of fate. Though the events may seem to be reasonable enough, however, this part feels like mere tragic rhetoric, because the film hastily gives up all the movements in the network ("I don't want anything to do with you guys anymore," Cheol-gi says). Joo-yang and Seok-gu suddenly disappear and Cheol-gi remains as the only protagonist, condensing all the narrative into his personal tragedy. The film seems to stop, ironically in its most physical moment. To see this turn whether as a sort of compromise or as the author's signature and uncompromising moral decision is up to audiences. Perhaps one might even say that it is a choice frank with the harsh reality of the social pyramid where the lower parts are replaced while the upper parts remain safe in their places. However, it sure hurts the film in its tonal terms. Fortunately, that can't close all the issues the film presents. Seeing the last shot of The Unjust, I felt all the lines between us nodes linger and reemerge from the landscape in front of me.

For those comments about Ryoo Seung-wan's sudden "transformation," (often based on the film's lack of "action" sequences) I cannot agree. Undoubtedly, The Unjust is an extension of the director's previous works. But he sure widens his sight here. From the dog fights of street lives without understanding the whole structure, he stepped back and drew a much bigger picture, to the extent of the analysis on the social network, which is a rare approach not only for the director but for Korean cinema as a whole. Taking this new punch, one might be more depressed, but one would be more sensitive to society. (Jiro Hong)

[rubie]

May 14, 2011

DVD Releases: May 15-21

Source:

Seen in Jeonju

One of the more successful films from 2010, THE UNJUST is directed by Ryu Seung-won and stars Hwang Jeong-min and Ryu Seung-beom. Number of discs: 2/ Subtitles: Korean & English/ Rating: 18+/ Format: 2.35:1 anamorphic widescreen/ Audio: Dolby Digital 5.1/ Running Time: 119 minutes (disc 1), 120 minutes (second disc)/ Recommended Price: 27,500 KRW/ Available: May 19

[rubie]

June 7, 2011

4 Korean movies invited to international film fest in Shanghai

Reporter: Lucia Hong luciahong @ Editor: Jessica Kim jesskim @ <Ⓒ 10Asia All rights reserved>

Official website of the 14th annual Shanghai International Film Festival

Four Korean features have been invited to the 14th annual Shanghai International Film Festival (SIFF), according to the official website of the film fest on Tuesday.

The official website of SIFF announced that Korean pics "Come Rain, Come Shine," "No Doubt," "Petty Romance" and "The Unjust" will be screened at the fest under the Spectrum category which is part of the Panorama segment showcasing films and industries through diversified perspectives.

"Come Rain, Come Shine," helmed by director Lee Yoon-ki and starring Hyun Bin and Lim Soo-jung, shows the emotional changes a couple (Hyun Bin and Lim) goes through ahead of their separation.

"No Doubt," by auteur Park Soo-yong and starring Kim Tae-woo and Lee Jung-jin, tells of how Choong-sik's (Kim) daughter goes missing and is found dead a few months later near a river, while at the time Se-jin (Lee) moves into the neighborhood causing suspicion that he is the killer.

"Petty Romance," helmed by Kim Jeong-hoon and starring Choi Kang-hee and Lee Sun-kyun, is about the love story that unfolds between comic artist Jeong Bae (Lee) and sex columnist Han Da-rim (Choi) after they come together to compete in an adult comic competition.

"The Unjust," helmed by Ryoo Seung-wan and starring Hwang Jung-min and Ryoo Seung-bum, is an action-packed thriller that delves into widespread corruption which occurs within a prosecutors' office.

First established in 1993, the Shanghai International Film Festival is China's A-category international film festival accredited by the International Federation of Film Producers' Associations (FIAPF). It stands as an international platform to promote the industry development and enhance cooperation worldwide.

This year the festival will run from June 11 to 19 and will hold its opening ceremony at the Shanghai Grand Theater.

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11 Korean films invited to New York Asian Film Festival

"The Yellow Sea," "The Unjust," and "Bedevilled" [showbox/CJ Enterainment/Pilma Pictures]

2011.06.03

Eleven Korean movies have been invited to the Asian Film Festival to be held in New York next month.

According to the official website of the festival on Friday, "Battlefield Heroes," "Bedevilled," "The Chaser," "City of Violence," "Foxy Festival," "Haunters," "The Man from Nowhere," "MSFF Shorts," "The Recipe," "Troubleshooter," The Unjust" and "The Yellow Sea" will be shown at the 2011 New York Asian Film Festival (NYAFF) in New York from July 1 to 14.

The fest will feature a category titled "SEA OF REVENGE: NEW KOREAN THRILLERS," presented in association with the Korean Cultural Service New York, which will show "The Unjust," "Bedevilled," "The Chaser," "Haunters," "The Man From Nowhere," "Troubleshooter" and "The Yellow Sea" also chosen as the closing film.

Korean directors Na Hong-jin, Ryoo Seung-wan, Kwok Hyeok-jae and Lee Joon-ik will also attend the film fest.

The New York Asian Film Festival was first held in 2002 that feature contemporary and classic movies under the horror, gangster/crime, martial arts and action genre from Eastern and Southeast Asia including Japan, South Korea, Hong Kong, China and Thailand.

Previous films that won at the fest include "My Sassy Girl" and "Please Teach Me English" for the audience award in 2002 and 2004, respectively.

Reporter : Lucia Hong luciahong@

Editor : Jessica Kim jesskim@

<ⓒ10Asia All rights reserved>

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http://www.fantasiafestival.com/2011/en/films/film_detail.php?id=456

http://www.fantasiafestival.com/2011/en/films/spotlight.php?id=64

Photos: http://www.flickr.com/photos/fantasiafilmfestival/sets/72157627230496844/ | http://www.cine-asie.ca/en/news/cineasie-photos/

Clown, Bullhead win at Fantasia; audience surpasses 100,000

8 August, 2011 | By Ian Sandwell

Screen Daily

The 15th edition of Montreal’s Fantasia International Film Festival hosted 19 world premieres including Final Destination 5 and The Wicker Tree.

Mikkel Nørgaard’s Clown(Klovn) won the Cheval Noir Award for best film at the 15th edition of Fantasia, with the New Flesh Award for first feature film going to Michaël R. Roskam’s Bullhead.

Clown is a Danish comedy about two immature men and one man’s nephew on a road trip. Belgium’s Bullhead is about shady men involved in the meat industry.

It was an Asian clean sweep for the festival’s other main awards with Korean crime thriller The Unjust picking up best actor awards for Hwang Jeong-min and Ryoo Seung-beom while Park Hoon-jung also scooped the best screenplay, Norie Yasui received the best actress award for her performance as an office worker who is approached by a man who promises to change her life in Love & Loathing & Lulu & Ayano and Yoshimasa Ishibashi was awarded best director for his comedy Milocrorze: A Love Story.

A special mention was given to Shunji Iwai’s first English-language film Vampire for its “original and contemplative take on suicide and our society’s fascination with the vampire myth” in the Cheval Noir competition. Sci-fi Love also received a special mention in the New Flesh category for its “resourcefulness and unwavering determination by a director to realize his unique vision”.

The L’Écran Fantastique prize, which awards the winner with a four-page magazine article and free publicity when the film comes out in France, went to Detention, Joseph Khan’s teen horror-comedy about a girl wants to die until a serial killer shows up who is willing to help.

James Gunn’s Super and documentary Superheroes shared the AQCC international prize, while epic Heaven’s Story won the AQCC Asian prize.

13 Assassins, Attack The Block, Redline and Bangkok Knockout were among the films receiving audience awards.

Talking to Screen, co-festival director Mitch Davis praised the audience that attended Fantasia, marking out the fact that the unknown micro-budget Absentia sold out before more well-known Attack The Block. In all, there were more than 100,000 attendees of this year’s festival (July 14-Aug 7).

“As programmers, it allows us to go out and take all kinds of risks supporting eccentric and atypical indie films that we fall in love with while we’re scouting, because more often than not, the audience is willing to take just as many risks as we are. It also allows us to program all kinds of films that are virtually unclassifiable within genre film definitions, but that still have a place at a festival like ours.”

Mitch also doesn’t believe that next year will see a change in format or duration as they aim to keep the festival an audience-driven event but hopes that they can expand the market section; so far this year, The FP and Hellacious Acres: The Case Of John Glass have been picked up for US distibution.

“We’re regularly asked by industry members why we insist on staying a three-week event staged across only two screens when we could easily be a ten-day event across a ton of screens, the way most festivals work. It’s something that would make the festival much more workable for industry attendees and press, but we’re certain that it would hurt the films and make the festival much less fun for the audience.

“If we had four screens going at once, I think it would be a massacre, with the big buzz films absolutely devouring the new discovery titles, just wiping them right off the face of the earth, and it would be terrible. So in 2012, we may be a day or two longer or shorter, but we don’t see it changing in any major way in either direction.”

Asked about personal highlights, Mitch said that the live conversation between Robin Hardy and Richard Stanley was “absolutely incredible” and the hour-long Q&A with John Landis, who picked up this year’s Lifetime Achievement Award, following the Canadian premiere of Burke And Hare was “certainly the most entertaining one we’ve had in the festival’s history of crazy Q&A sessions”.

Of the 134 films screened, 19 were world premieres and 14 were North American premieres, and 150 directors, actors and producers attended the festival, which ran July 14-Aug 7.

Related links:

[Fantasia News] A Thundering Success With An International Reach For Fantasia's 15th Edition

[Hollywood Reporter] 'Attack the Block' Takes Fantasia Audience Award

[Montreal Gazette] Fantasia Film Festival: Clown is king of the fest

[Film Business Asia] Asia dominates Fantasia prize list

[10Asia] "The Unjust" and "Night Fishing" score wins at int'l film fest in Canada

Acceptance speeches via [Cine-Asie] The Unjust wins best actors and best scenario awards at Fantasia:

Ryu Seung-Beom [YouTube] [Vimeo]

Ryu Seung-Wan [YouTube] [Vimeo]

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KOREAN FILM FESTIVAL IN AUSTRALIA 2011 Film Line-up announced!

KOFFIA2011

2011.07.26

The KOFFIA Korean Film Festival is back in Sydney for the second time this August, bigger and better than ever, and it all begins here! KOFFIA 2011 will present 13 feature films and 7 shorts that showcase the great diversity of Korean cinema today, as well as providing a true Korean cultural experience with industry forums, cultural performances, food tastings and so much more. HOLD ON TIGHT!

The festival will take place from 24th – 29th August at Dendy Cinemas in Circular Quay, Sydney. In this Australia-Korea Year of Friendship, we are very excited to announce that KOFFIA will also travel down to the beautiful city of Melbourne! The festival will run from 10th – 13th September at ACMI Cinemas, Australian Centre for the Moving Image, Federation Square, Melbourne. This is an extra special date, as 12th September marks the important Korean Thanksgiving Holiday of Chuseok, join us in this celebration.

The Unjust

This year our line-up will be centred around six key themes felt to represent particular recurring messages in Korean cinema. Experienced genre filmmaker Ryo Seung-wan’s latest box office and critical hit The Unjust (2010) will open KOFFIA 2011 in Sydney as part of our ‘Crime and Punishment’ selection. Known for his action hits Arahan and The City of Violence, we are delighted to announce that director Ryoo and Producer Kang Hye-jeong will be guests of the festival this year. Rounding out ‘Crime and Punishment’ is the number 1 Korean box office hit last year, The Man From Nowhere (2010), featuring popular actor and model Won Bin (Mother).

Secret Reunion

‘Brothers Divided’ reflects on conflict found in relationships and opens with Secret Reunion (2010) directed by Jang Hun (Rough Cut). One of the highest grossing Korean films of all time, it follows a tense partnership between a North Korean spy and a former South Korean agent. Also screening under this theme is Park Chan-wook’s classic J.S.A Joint Security Area (2000). Arguably Park’s best feature, the film tells the story of an unlikely relationship between the North and South Korean guards along the border. Both films star festival favourite Song Kang-ho.

The Journals of Musan

‘Indie Cinema’ will introduce our audience to award winning independent films that have been making waves worldwide. The documentary Earth’s Women (2009) follows the stories of three female farmers and their livelong friendship, as they get caught up in a peasant’s rights movement. The Journals of Musan (2010) is Park Jung-bum’s first feature, made on a shoe-string budget, and highlights the isolated lives of North Korean defectors in South Korean society. Both films won their respective categories at the revered Busan International Film Festival, taking away Best Documentary and FIPRESCI prizes respectively.

No Blood No Tears

‘Bloody Friday’ highlights the most thrill providing films of Korean cinema today! No Blood No Tears (2002), also directed by Ryoo Seung-wan, is a film noir crime caper with a difference, and launched stars Jeon Do-yeon (The Housemaid) and Jeong Jae-yeong (Castaway on the Moon). Director Ryoo and Producer Kang will attend for a Q&A. Former Kim Ki-duk assistant director, Jang Chul-soo, makes his debut with Bedevilled (2010), which has reinvigorated the Korean horror film industry.

Shim's Family

‘Extraordinary Ordinary Families’ describes the very nature of the extended family in contemporary Korean society, with Shim’s Family (2007) uncovering many unknown skeletons, and The Show Must Go On (2007) giving us a look at the Korean Sopranos. The Show Must Go On won Best Picture and Best Actor at the 28th Blue Dragon Film Awards. To celebrate filmmaking ‘Masters and Students’ highlights the best of the Young Korean Filmmaker Awards (YKFA) entries and short films from renowned Korean directors. Also screening in this section is Oki’s Movie (2010), the latest effort from the critically acclaimed auteur director, Hong Sang-soo.

Oki's Movie

Finally we focus on the hearts and dream of youth, with ‘Ride The Dream’. This year’s special school screening features Bunt (2007), a heart-warming film of a mentally challenged boy who strives to help everyone around him. Closing Sydney and Opening Melbourne will be Korea’s official submission for the Oscars for Best Foreign Language film, the beautiful A Barefoot Dream (2010), which tells the true story of a Korean soccer coach who gave hope to underprivileged children in East Timor.

A Barefoot Dream

What is most clear from this line-up, is that there is much more to see of Korean cinema than many people ever imagined. Come along for whichever theme takes your fancy, as you won’t be disappointed. Remember to mark the dates in your diary, August 24-29 in Sydney and September 10-13 in Melbourne, as KOFFIA 2011 will be one not to miss. Prepare to go on a rollercoaster ride of cinematic proportions, HOLD ON TIGHT!

For more information please see our website, www.koffia.com.au. Tickets are on sale 3 weeks prior to the festival dates. KOFFIA is organised by the Korean Cultural Office in Sydney.

SCHEDULE [via Q&As and Forums, HanCinema]

Press Conference (with English translator)

DATE

Tue 23rd Aug 2011 (3:00pm)

VENUE

Korean Cultural Office

GUEST

- Ryoo Seung-wan (Director)

- Kang Hye-jung (Producer)

Press Conference (in Korean only)

DATE

Wed 24th Aug 2011 (3:00pm)

VENUE

Korean Cultural Office

GUEST

- Ryoo Seung-wan (Director)

- Kang Hye-jung (Producer)

Q&A with Director & Producer / The Unjust

DATE

Wed 24th Aug 2011 (6:00pm - 9:00pm)

VENUE

Dendy Opera Quays

GUEST

- Ryoo Seung-wan (Director)

- Kang Hye-jung (Producer)

TOPIC

Q&A: The Uncovering

1. Introducing The Unjust

2. Q&A with the director and the producer

Q&A with the Director & Producer / No Blood No Tears

DATE

Fri 26th Aug 2011 (6:00pm - 9:00pm)

VENUE

Dendy Opera Quays

GUEST

- Ryoo Seung-wan (Director)

- Kang Hye-jung (Producer)

TOPIC

Q&A: More Blood

1. Introducing No Blood No Tears

2. Q&A with the director and the producer

YKFA Awards Ceremony

DATE

Sat 27th Aug 2011 (11:00am)

VENUE

Dendy Opera Quays

Presented by Ryoo Seung-wan and Elizabeth Connor

Directors Forum / Ryoo Seung-wan

DATE

Fri 27th Aug 2011 (1:00pm - 2:00pm)

VENUE

Dendy Opera Quays

GUEST

Ryoo Seung-wan (Director)

TOPIC

Meet the Director

An in-depth conversation with the renowned genre specialist, director of The Unjust, No Blood No Tears, Arahan, The City of Violence, Dachimawa Lee & Crying Fist, Ryoo Seung-wan.

[rubie]

Official Website:

vladivostokfilmfestival.ru

September 1, 2011

Several Korean movies invited to international film fest in Russia

Source: 10Asia

Several Korean movies will be screened at the Vladivostok International Film Festival in Moscow this month.

On Thursday, the official website of the fest revealed that Korean feature films "Come Rain, Come Shine," "Blue" and short "Night Fishing" have been selected for main competition at the 9th annual Vladivostok International Film Festival - Pacific Meridian to be held from September 10 to 16.

In the meantime, Director Kim Ki-duk's controversial pic "Arirang," the third installment of the town series “Dance Town” by auteur Jeon Kyu-hwan and Kim Myung-min starrer "Detective K: Secret of Virtuous Widow" will be screened under the Panorama category.

Also, Korean thrillers "The Yellow Sea," "I Saw the Devil," "Moss," "The Unjust" and "The Man from Nowhere" will be shown under the special segment of In focus.

In focus. Suspense, Korean style

5 feature films of "suspense" genre (films with intense action) by leading Korean directors.

The Yellow Sea

Moss

I Saw the Devil

The Unjust

The Man from Nowhere

[rubie]

Official Website: hiff.org

September 2, 2011

8 Korean pictures invited to international film fest in Hawaii

Source: 10Asia

Eight Korean pictures will be screened at this year's Hawai'i International Film Festival (HIFF) next month.

On Friday, HIFF's official website revealed that "Cyrano Agency," "Detective K: Secret of Virtuous Widow," "The Recipe," "The Unjust," "The Journals of Musan," "Unstoppable Family," "Hello Ghost" and "Arirang" were invited to the 31st annual Hawai'i International Film Festival set to take place for 11 days starting October 13.

The website also showed that the final list of programs for this year's HIFF will be announced in mid-September. At previous editions of the HIFF, Korean movies "Our Twisted Hero" (1992), "A Hot Roof" (1996), "Spring in my Hometown" (1998) and "Chunhyang" (2000) won the prize for best feature while war flick "71 Into the Fire" was last year's closing film.

Established in 1981, the Hawai'i International Film Festival is a non-profit organization which is dedicated in bringing cultural exchange and media awareness in the Pacific Rim.

HIFF's programming has two particular mandates: to be a festival of record for emerging films from Asia and the Pacific, and to present the top festival films from around the world, annually screening films from over 45 countries.

HIFF also presents content and panels in the fields of film and music, and mobile entertainment and gaming

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Several Korean movies score wins at Spain film festival

10Asia 2011.10.17

Reporter : Lucia Hong | Editor : Jessica Kim

Movie posters for "Leafie, A Hen Into the Wild" (left), "The Unjust" (middle) and "The Murderer (The Yellow Sea)" (right) [Myung Films/CJ Entertainment/Showbox]

Korean movies "The Murderer (The Yellow Sea)," "Night Fishing," "Invasion of Alien Bikini," "The Unjust" and "Leafie, A Hen Into the Wild" won awards at this year's Sitges Film Festival in Catalonia over the weekend.

On Monday, the official website of the fest revealed that famed Korean auteur Na Hong-jin of film "The Murderer (The Yellow Sea)" won the award for Best Director at the 44th annual Sitges International Fantastic Film Festival of Catalonia which took place from October 6 to 16.

Also, Korean pic "Night Fishing" by Park Chan-wook and Park Chan-kyong took home the prize for best motion picture and director Oh Young-doo's erotic comedy "Invasion of Alien Bikini" scored the discovery motion picture diploma under the Noves Visions category.

Director Ryoo Seung-wan's action feature "The Unjust" won the best motion picture award under the Casa Asia section while Korean animation "Leafie, A Hen Into the Wild" received the best Sitges Family Film diploma.

Established in 1967, the Sitges International Film Festival of Catalonia focuses on films of the fantasy and horror genre. It takes places every year in the Catalonian coastal town of Sitges near Barcelona.

http://sitgesfilmfestival.com/eng/noticies/?id=1003088

http://sitgesfilmfestival.com/eng/film/?id=10002243

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‘The Unjust’ best picture at Blue Dragon Awards

By Claire Lee (dyc@heraldm.com) Korea Herald

2011-11-27 21:10

Kim Ha-neul, Park Hae-il hailed best actress, actor

Director Ryu Seung-wan’s crime thriller “The Unjust” won Best Picture at the 32nd Blue Dragon Film Awards on Friday, while actress Kim Ha-neul and actor Park Hae-il received the top acting honors in a repeat of last month’s Daejong Film Awards.

An incisive portrayal of corruption and extortion of public officials surrounding a serial murder case, “The Unjust” also won Best Director and Best Screenplay.

Ryu, who was reportedly on a business trip in Berlin, did not show up to Friday’s ceremony at the Hall of Peace of Kyung Hee University in Seoul. His wife, Kang Hye-jeong, who served as producer of the film, received the honor on his behalf.

Kang Hye-jeong

Park Hoon-jung

Kim Ha-neul was once again honored with the top acting prize for her role as the visually impaired woman in the serial killer thriller “Blind,” after winning the first Best Actress honor of her 15-year career at Daejong Film Awards last month. Kim was competing with Chinese heavyweight Tang Wei, who starred as a tormented prisoner in director Kim Tae-yong’s “Late Autumn,” for the prize. The two actresses hugged when Kim was announced as the winner.

“I’ve been always envious of the winners whenever attending award ceremonies,” Kim said. “Though I’ve won this award for my work in ‘Blind,’ I’d like to pay tribute to every single film that I’ve done. I learned so much by participating in all of them.”

Park Hae-il also repeated his Daejong success for his role as the heroic archer in the period drama “Arrow, the Ultimate Weapon.” Park, who is currently shooting best-selling-novel-turned-drama “Eungyo,” took off his hat and revealed his shaved head for the part during his acceptance speech. In the upcoming movie, Park plays a poet in his 70s.

“I am working on my upcoming film, which is just going to be amazing,” Park said. “I am working on the piece bearing 10 hours of make up every day. Being an actor isn’t an easy job, and I take this prize as a reward for such hardships.”

Ryu Seung-ryong and Moon Chae-won won Best Supporting Actor and Best New Actress, also for “Arrow, the Ultimate Weapon.” The film also picked up Best Tech and Box Office, winning the most awards this year.

Veteran actress Kim Soo-mi won Best Supporting Actress for her role in “Late Blossom.”

Yoon Sung-hyun, a 29-year-old director who debuted this year with his highly successful film-academy graduation project, “Bleak Night,” received the Best New Director prize.

Actor Lee Je-hoon, who stars as the young protagonist in Yoon’s film, received the Best New Actor prize. A deft cinematic portrait of three high school boys and their twisted friendship, “Bleak Night” has been premiered at many international film festivals, including 2010 PIFF, 2011 Taipei Film Festival and 2011 International Film Festival Rotterdam.

Both Yoon and Lee won the same prizes at Daejong Film Awards last month.

Meanwhile, young director Yang Hyo-joo won the Best Short Film prize for her final school project and Berlinale-winning short “Broken Night.”

‘The Unjust’ Wins Top Honors at Blue Dragon Film Awards

2011-11-26 11:45 l CJ E&M enewsWorld Lee, InKyung

Film The Unjust won big at the 32nd Blue Dragon Film Awards, which was held at Kyunghee University’s Great Peace Palace in Seoul on November 25, taking home three awards for Best Film, Best Screenplay and Best Director. The film’s director and big winner of the night, Ryu Seung Wan, was unable to attend the ceremony because he is currently on location overseas for his film Berlin. His wife and production company CEO Kang Hye Jung accepted the award on Ryu’s behalf.

Kang said to applause, “I am opposed to everything unjust in the world, like the proposed enforcement of the Korea-U.S. FTA (Free Trade Agreement) on November 22.” The Unjust was released in October of last year, and it was highly acclaimed for both its box office success and cinematic quality, drawing roughly three million moviegoers to theaters. It was also recognized at the Berlin International Film Festival.

Park Hae Il of War of the Arrows and Kim Ha Neul of Blind won the Best Actor and Best Actress Awards, respectively. Park and Kim were awarded the Best Actor and Best Actress Awards at the 48th Daejong Film Festival in October as well.

“I’m so happy. I started acting at a really young age, and I think I’ve been able to come this far because I was lucky enough to have come across many great projects,” said Kim upon receiving her award. “I’ve been nominated a few times for a Blue Dragon Award because of those works, and I was always envious of the actors on stage as I watched from my seat.”

Lee Je Hoon of Bleak Night and Moon Chae Won of War of the Arrows each took home a Best New Actor and Best New Actress Award, respectively.

Korean pic "The Unjust" wins big at the 32nd Blue Dragon Awards

10Asia | Reporter : Lucia Hong. Editor : Jessica Kim.

2011.11.28

Korean action flick "The Unjust" won the prize for best film as well as two more awards at the 32nd Blue Dragon Awards last week.

At the award ceremony held at the Peace Palace located in Kyung-hee University of Seoul on November 25, "The Unjust," helmed by Ryoo Seung-wan and starring Hwang Jeong-min and Ryoo Seung-beom, scored honors for best picture, best screenplay and best director.

"The Unjust" has been received well overseas as well, being invited to the 35th Hong Kong International Film Festival, New York Asian Film Festival, 14th Shanghai International Film Festival, 15th annual Fantasia International Film Festival and the 44th annual Sitges International Fantastic Film Festival of Catalonia.

It also attracted over 2.7 million moviegoers during its run on the box office for several months starting October last year.

In the meantime, Park Hae-il took home the award for best actor for his role in Korean action pic "Arrow The Ultimate Weapon" while the film took home four more prizes as well, including those for popular film, best supporting actor, best visual effects and best new actress to Moon Chae-won.

Meanwhile, Korean actress Kim Ha-neul scored the prize for best actress for playing a visually impaired woman who solved crimes in the thriller "Blind."

Both Park and Kim won the award for best actor and actress, respectively, during the 48th Daejong Film Awards held last month.

32nd Blue Dragon Awards - List of Winners

▲ Best Picture: "The Unjust"

▲ Best Director: Ryoo Seung-wan ("The Unjust")

▲ Best Actor: Park Hae-il ("Arrow The Ultimate Weapon")

▲ Best Actress: Kim Ha-neul ("Blind")

▲ Best Supporting Actor: Ryoo Seung-ryong ("Arrow The Ultimate Weapon")

▲ Best Supporting Actress: Kim Soo-mi ("Late Blossom")

▲ Best New Director: Yoon Sung-hyun ("Bleak Night")

▲ Best New Actor: Lee Je-hoon ("Bleak Night")

▲ Best New Actress: Moon Chae-won ("Arrow The Ultimate Weapon")

▲ Best Cinematography: Kim Woo-hyung ("The Frontline")

▲ Best Music: Mogg ("The Crucibles")

▲ Best Art Direction: Ryu Seung-hee ("The Frontline")

▲ Best Visual Effects: Oh Se-young ("Arrow The Ultimate Weapon")

▲ Best Screenplay: Park Hoon-jung ("The Unjust")

▲ Best Lighting: Hwang Soon-wook ("The Murderer (The Yellow Sea)")

▲ Best Short Film: Yang Hyo-joo ("Broken Night")

▲ Popular Film: "Arrow The Ultimate Weapon"

▲ Popularity Award: Gong Yoo, Choi Kang-hee, Ko Soo, Kim Hye-soo