Director Park Chan-Wook 박찬욱 [“Decision to Leave”]

[Helena]

https://thefilmstage.com/park-chan-wooks-next-film-is-a-melodrama-starring-tang-wei-and-park-hae-il/

Park Chan-wook’s Next Film is a Melodrama Starring Tang Wei and Park Hae-il

 

By Jordan Raup | May 19, 2020

After the world of South Korean cinema got a major boost this past year thanks to Parasite, there are many more riches to discover from the country but one director who is already on an international platform is Park Chan-wook. Since The Handmaiden and The Little Drummer Girl, he’s been attempting to get a number of projects off the ground and it now looks like he’s settled on one.

Although it was reported last year the Oldboy director’s planned project The Brigands of Rattlecreek, scripted by S. Craig Zahler, was revived by Amazon Studios and he was also planning a remake of the Costa-Gavras movie The Ax, neither will be his next film. Rather, he’ll be directing a melodrama starring Park Hae-il (Memories of Murder, The Host) and Tang Wei (Lust, Caution, Long Day’s Journey into Night, Blackhat), Naver reports. 

With a title translated from Korean as The Decision to Break Up, it’s said to be different from traditional melodramas and draw from Park Chan-wook’s darker sensibilities, which we wouldn’t have any other way. Production is aiming to begin this fall, so if all goes as planned, we could see it on next year’s film festival circuit.

As we await more details, check out an hour-long talk with the director on his career below.

 

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http://www.koreanfilm.or.kr/eng/news/news.jsp?blbdComCd=601006&seq=5433&mode=VIEW
PARK Chan-wook’s DECISION TO LEAVE Begins Shoot This Month

by Pierce Conran | Oct 19, 2020

TANG Wei and PARK Hae-il Headline Latest from Korean Maestro

Following his recent John LE CARRE adaptation The Little Drummer Girl for the BBC, master Korean filmmaker PARK Chan-wook is about to return to set for a new Korean project. Decision to Leave, which will be produced by PARK’s outfit Moho Film and financed and distributed by CJ Entertainment, will feature Chinese star TANG Wei alongside local names PARK Hae-il, LEE Jung-hyun, GO Kyoung-pyo and PARK Yong-woo. Filming is expected to begin later this month.

PARK will play the determined detective Hae-jun, who investigates a death in the mountains. During his search, he begins to suspect but also feels an attraction for the dead man’s wife Seo-rae (TANG Wei).

Director PARK co-wrote the script with his longtime collaborator CHUNG Seo-kyung, who previously worked on PARK’s Sympathy for Lady Vengeance (2005), Thirst (2009) and The Handmaiden (2016), as well as The Truth Beneath (2016) and Believer (2018).

TANG Wei is most well-known internationally for her breakout role in Ang LEE’s Lust, Caution. Decision to Leave will be the star’s third Korean project, following Late Autumn (2011) and the currently in-production WONDERLAND (literal title), both helmed by her husband KIM Tae-yong.

Working with Director PARK for the first time, PARK Hae-il is known for BONG Joon-ho’s Memories of Murder (2003) and The Host (2006) and recently appeared in the period drama The King’s Letters (2019). He is currently filming the naval epic Hansan (literal), in which he plays legendary admiral LEE Sun-shin.

LEE Jung-hyun, who previously appeared in Director PARK’s short Night Fishing (2011) and was seen in Peninsula this summer, will play Hae-jun’s wife. GO Kyoung-pyo (Seven Years of Night, 2018) will feature as a junior detective who admires Hae-jun but starts to have doubts about the way he is conducting the investigation, while PARK Yong-woo (Spiritwalker) will play Ho-shin, another man in Seo-rae’s life.

[Helena]

https://deadline.com/2021/07/hbo-a24-partner-viet-thanh-nguyens-the-sympathizer-robert-downey-jr-1234793468/
Robert Downey Jr. To Co-Star In Drama Series Adaptation Of Viet Thanh Nguyen’s ‘The Sympathizer’ For HBO And A24; Park Chan-wook Directing

By Justin Kroll | July 15, 2021

 

AP

EXCLUSIVE: After officially hanging up his Iron Man suit in Avengers: Endgame, Robert Downey Jr. looks to have found his next big role to tackle while also marking his first starring TV venture. Sources tell Deadline, HBO has ordered the A24 drama series adaptation of Viet Thanh Nguyen’s Pulitzer Prize-winning novel The Sympathizer, with Downey attached to co-star.

 

Park Chan-wook / AP

The novel is an espionage thriller and cross-culture satire about the struggles of a half-French, half-Vietnamese communist spy during the final days of the Vietnam War and his resulting exile in the United States. A worldwide search is underway for the lead role and the rest of the predominantly Vietnamese ensemble.

Described as a “blistering exploration of identity and America, a gripping spy novel and a powerful story of love and friendship,” the novel is hailed as a new classic of war fiction and has been compared to the works of Kafka, Orwell, and le Carré.

Execs now will look to cast the title character who will co-star opposite Downey.

Oldboy director Park Chan-wook is on board as co-showrunner, along with Don McKellar, and also will direct the series. Park and McKellar will also exec produce along with Downey, Susan Downey and Amanda Burrell for Team Downey. Niv Fichman will also exec produce through Rhombus Media as will Kim Ly. The series is a co-production between HBO, A24 and Rhombus Media in association with Cinetic Media and Moho Film.

The project marks the first role for Robert Downey since his final appearance as the iconic Tony Stark aka Iron Man, and the Oscar nominee has been particular since the end of his run. (Production on his 2020 film Dolittle began before Endgame‘s release.) After weighing several offers, sources say what made this role so appealing, besides an incredible story, was the opportunity to show his range as an actor. According to insiders, he is set to play multiple supporting roles as the main antagonists — all of whom represent a different arm of the American establishment including an up-and-coming Orange County congressman, a CIA agent and a Hollywood film director, among others.

“Adapting Mr. Nguyen’s important and masterful work requires a visionary team,” Robert Downey said. “With director Park at the helm, I expect this to be a creative producing adventure for Susan, me and Team Downey and a stimulating process for myself in playing these complex supporting roles. A24 and HBO are the perfect combination of partners and co-parents. … It’s exactly the type of challenge I’ve been craving, and I believe we will deliver an exceptional viewing experience to our audience.”

The partnership makes sense following the collaboration between Team Downey and HBO on Perry Mason, with Team Downey producing the HBO series. Matthew Rhys, who stars in the series, was nominated for an Emmy this week. Following the success of that first season, HBO and Team Downey re-upped their overall deal.

This marks the latest collaboration between A24 and HBO, who have worked together on the Emmy-winning Euphoria and the anticipated Olivier Assayas remake of his own Irma Vep, starring Alicia Vikander.

Park is best known for directing Oldboy, Sympathy for Lady Vengeance, and Sympathy for Mr. Vengeance. He is repped by WME, Industry Entertainment Partners and Hansen Jacobson Teller.

Robert Downey — who recurred on Ally McBeal in the early 2000s — is repped by WME and Hansen Jacobson Teller. McKellar is represented by Great North Artists Management.

 

Related Reports: yonhap | zapzee | 

[Helena]

^^Previous reports^^

 

https://en.yna.co.kr/view/AEN20210408005400315
Park Chan-wook to direct TV adaptation of Pulitzer-winning novel 'The Sympathizer'

April 08, 2021

SEOUL, April 8 (Yonhap) -- Renowned South Korean auteur Park Chan-wook is set to direct a U.S. TV project based on the Pulitzer-wining novel "The Sympathizer," a publisher here said Thursday.

Park, the man behind iconic works like "The Handmaiden" and "Joint Security Area," will work on the TV adaptation of Vietnamese American novelist Viet Thanh Nguyen's award-winning 2015 book, according to Minumsa Publishing Group.

Nguyen voiced excitement over the collaboration on Twitter, saying he "can't imagine a better person to direct this TV adaptation."

"I hope Park Chan-wook, who did wonders with the octopus in 'Oldboy,' will be equally imaginative with the squid in 'The Sympathizer,'" he wrote.

Ngyuen said he will also be collaborating with A24, the studio behind "Minari," Korean American director Lee Issac Chung's semiautobiographical film about a family of Korean immigrants who start a farm in 1980s Arkansas in pursuit of the American dream.

South Korean film director Park Chan-wook poses during an interview in Oslo, Norway, on Nov. 7, 2019. (Yonhap)

 

"The Sympathizer" follows the story of a half-Vietnamese, half-French communist double agent during and after the Vietnam War. In addition to winning the Pulitzer Prize for Fiction in 2016, it also won the Carnegie Medal for Excellence in Fiction and PEN/Faulkner Award for Fiction, among other awards.

The novel was translated into Korean and published here by Minumsa in 2018.

This image, provided by Minumsa Publishing Group, shows the cover for the Korean version of Viet Thanh Nguyen's novel "The Sympathizer." (PHOTO NOT FOR SALE) (Yonhap)

mlee@yna.co.kr
(END)

[Helena]

https://koreajoongangdaily.joins.com/2021/10/04/entertainment/movies/Park-Chanwook-exhibition-Busan/20211004153824387.html
Filmmaker Park Chan-wook prefers cameras to camcorders

BY LEE JAE-LIM [lee.jaelim@joongang.co.kr] | October 4, 2021

 

Filmmaker-turned-photographer Park Chan-wook poses for photos prior to the opening of his first solo exhibition ″Your Faces″ in Kukje Gallery, Busan. [KUKJE GALLERY]

BUSAN — Park Chan-wook, one of the filmmakers credited with starting the global renaissance of Korean cinema, is an introvert.   

At least, that is how he described himself during the press opening of his first photo exhibition “Your Faces,” hosted at Kukje Gallery, Busan on Friday. The exhibition showcases 30 photos that Park took from 2013 up until recently as he traveled around the world to work on films or promote them.   

However, fans of Park looking for some exclusive behind-the-scenes moments might leave feeling disappointed. The main subjects of his photos in this exhibition are ordinary and inanimate objects, animals or landscapes that caught the filmmaker’s eye during his spare time.

 

"Face 6" (2016) [KUKJE GALLERY]

“I’ve never actually traveled to take photos,” Park revealed. “They [the photos] are places that I had to visit due to my profession. To tell you the truth, I don’t really like traveling. What I like the best is to just stay in my home, but I have to travel to film, to visit film festivals and to promote them. Residing in hotels and moving from one place to another is all very tiring and strenuous for me, which is one of the reasons why I lean toward photographs even more. It’s how I reap something worthwhile from the travels that I do not enjoy. So whenever I visit a city, I specifically ask the people I'm working with to give me one or two spare days so that I can look around. That’s when I take the photos.” 

Although he established a name for himself as a renowned filmmaker, his persona as a photographer came first, according to Park. The influence came from the filmmaker’s own father who used to take pictures of his family throughout the director’s childhood. In his college days at Sogang University, Park was also active as a member of a student photography club.   

Park said that his reserved and withdrawn personality almost led him to give up on filmmaking.   

“To be able to create a film by putting our heads together can be a pleasure, for sure,” Park said. “But when it becomes difficult to synchronize people, it becomes incredibly hard. I’m not a leader so I can't mediate differences of opinion. I am the kind of person who likes to be alone, an introvert, so I’d never imagined that I would become a filmmaker.”

 

"Face 106" (2016) [KUKJE GALLERY]

“What’s more, films cost a lot of money, up to several millions and billions of won, and to spend someone else’s money can be very scary,” Park said. “I don’t sleep well at night [because of this realization]. But compared to films, taking photographs feels like a relatively lightweight and freeing process to me, which is why I don’t give up on it no matter how busy I am. Regardless of the result, I am the one solely responsible for the photos, without causing any damage to others.” 

The title of the exhibition, “Your Faces,” refers to the momentary expressions that Park glimpsed through his subjects.   

“I hope when a viewer stands in front of a certain photo, they can confront the object in the photograph one-on-one and read its expression, and experience their own feelings and thoughts that pop in their minds when looking at the photos.” 

The filmmaker also shared some of his own insights behind his photos. Park captured “Face 16” (2013) during one of his morning walks while staying at a hotel in Morocco.

Img4
"Face 16" (2013) [KUKJE GALLERY]

“I saw a couple of parasols folded and gathered in a corner by the swimming pool,” he said. “To me, they looked like Islamic ghosts. I could perhaps hear their whispers at night.” 

In a photo titled “Washington D.C.” (2013), a golden velvet sofa became the subject of Park’s camera.

Img5
"Washington D.C." (2013) [KUKJE GALLERY]

“The sofa was in the waiting room of a museum in Washington D.C., right before the panel discussion for ‘Thirst’ [2009] started. During the time, I was touring around several cities in the U.S. to promote the film, and we were going around one city per day, so it was an extremely tight schedule. I felt so tired that I just wanted to sink into the sofa, and its velvety texture felt like a welcome to me.”   

For some photos, Park focused on capturing fleeting impressions from his surroundings. For others, he tried to show the texture of his subjects, like “Face 45” (2015), which highlights the grainy texture of a mountain in the Sahara Desert. 

Img6
"Face 45" (2015) [KUKJE GALLERY]

“[The mountain’s] figure was picturesque, and I thought it would leave a different impression on each person,” Park said. “For instance, some might think that it looks like the head of a person wearing a scarf.   

“The texture was important too. I hoped the rough, grainy texture of the rock could be felt by the viewers as if they were touching the surface themselves. It’s the same with films. Whatever props or costumes I use in my films, I ask [the designers] to put care into the fabric and the patterns, so that the audience might be able to actually feel it [through the screens]. When we watch a film, we directly observe it through our eyes and ears, but when everything is materialized properly, what is shown on screens can stimulate other senses too — we can feel the texture through our fingertips or smell as well. I try to make films that can do that. It’s the same for photographs as well.” 

Park seems to be drawn to photography for its simplicity and independence, qualities that are parallel to his attractions to filmmaking.   

“A photo cannot build up a character or a story with complicated layers, but it can lead to certain emotions depending on the viewers due to its simplicity,” he said. “Whereas a film is carefully constructed and designed with the creator’s intention to ultimately pass on a message to the audience. In contrast to still scenes of a film, a picture has its own independence, a complete universe within its frame, and it’s the kind of medium in which people need to peer closer and think longer about its meanings.” 

For an esteemed filmmaker, the director surprised the press by admitting that he hardly takes any videos of his travels, instead preferring to stick to his digital cameras.   

“I guess I have high standards when it comes to moving pictures,” he said. “I mean, I work with the very best camera directors around the world when I’m making films, so it’s difficult for me to haphazardly film things with my camcorder. I know that the digital camcorders coming out now have been updated to record videos beautifully, but since my profession is already filmmaking, I really don’t want to think about filming during my free time [...] Even during my daughter’s childhood, I did not film anything. I only took pictures.” 

Park has similar reasons for choosing to focus on non-human subjects for his photographs. Although Park published “The Handmaiden Photo Book” in 2016 which contains behind-the-scenes snaps of the film, he prefers to leave people out of his photos when they are not related to his filmmaking.  

“I don’t look for people because I create the characters and their emotions in the films,” Park said. “So I don’t want to prolong the experience in my photo works as well. It’s different for non-living objects in the sense that I can sometimes spot vitality in them, catching the expressions within them whether that is happiness, sadness or even impassivity. I have no intention of taking photos of people’s faces, at least not yet. But who knows about the future.” 

[Helena]

https://variety.com/2021/film/asia/park-chan-wook-talks-sympathizer-decision-to-leave-and-virtual-production-technology-1235086940/
Park Chan-wook Talks ‘Sympathizer,’ ‘Decision to Leave’ and Virtual Production Technology

By Rebecca Souw | October 12, 2021

 

Rebecca Souw

Park Chan-wook, one of South Korea’s most celebrated film directors, kicked off the Asian Contents & Film Market adjunct to the Busan International Film Festival with a public update of his various film and TV projects.

Attached as director and showrunner on A24’s “The Sympathizer,” a seven-part series for HBO, Park said: “We’ve decided on 5 writers including myself and will start working on the scripts. All episodes will flow as a connected story [and not as an anthology series].” The show is an espionage drama based on Viet Thanh Nguyen’s Pulitzer Prize-winning novel. Robert Downey Jr. is attached to star.

His comments came as part of an on-stage chat with long-time friend, director Lee Moo-young that the market organizers billed as “Audiovisual Storytelling in the Era of Diverse Media and Platforms.” Other topic covered included the new pressures, risks and opportunities within a changing media landscape, and how those challenges affect filmmakers’ storytelling and style.

Park also revealed that his feature film “Decision to Leave,” a romantic thriller, is now deep into post-production. Editing is locked, leaving music and VFX to be completed by the end of the year. “The release date is uncertain, [distributor] CJ Entertainment doesn’t know either and since no one is rushing, we are constantly retouching things all the time,” said Park.

Park and Lee swapped notes on the contest between film and TV, using Park’s 2018 six-episode limited series “Little Drummer Girl” as a reference point. Park revealed his initial worries about the show’s TV success. “I didn’t see the need to pull everything out from the book,” he said. He later went on to make two versions, one for global broadcast and a director’s cut released on Korean OTT platform Watcha.

“With film, there’s a fixed release date, which means everything is done with concentrated focus. Arguments are also quick and intense. In TV, cliffhangers are key and there’s time to develop the characters of supporting actors, possibly with spin-offs, unlike movies,” says Park. “Also, when shooting a series, scripts are changed according to viewers’ reaction.”

Park told Lee that he makes little effort to change style between film and series production. “Not much, it doesn’t bother me,” he said. “I worry about the small details like camera movements, close up shots and SFX. And the reality is, I don’t know how viewers are watching the content, so it’s hard to know the reference points.”
A renown stylist, Park said that he will continue to experiment with different formats, rather than “getting trapped in stereotypes and hanging onto old habits.”

“I’ve done music videos and short films. It’s a matter of familiarizing myself with the new medium. Learn and respect the rules (in TV), but don’t get buried by them. It’s a changing environment, which means we can keep trying new things.”

Park and Lee said that were both interested in the emerging virtual production techniques, with Park referencing the work of his frequent cinematographer Chung Chung-hoon who is currently making an Obi-wan spinoff for the “Star Wars” universe. “It’s already happening, but the question is would it do well in theaters?” Park asked himself, before adding that he is planning an experimental short.

Park acknowledged the financial hardships of investors and filmmakers caused by the coronavirus pandemic and urged colleagues to “endure and persist, even if it means leaving the theater industry for a while and finding something different.”

One such example has been Park’s dabbling with photography. “Your Faces,” comprising 30 images taken over several years, is his first solo photography exhibition, and is currently being held at the Gukje Gallery Busan (Oct. 1-Dec. 19). “It’s my debut as a photographer, so I’m very nervous,” said Park.

[Helena]

https://zapzee.net/2021/11/11/kim-ok-vin-and-park-jung-min-to-join-park-chan-wooks-new-short-film-as-lead-actors/
Kim Ok Vin and Park Jung Min to Join Park Chan Wook’s New Short Film as Lead Actors

by krishkim

 

Credit: iMBC

It looks like Kim Ok Vin and Park Jung Min will be teaming up with Park Chan Wook.

According to OSEN, Kim Ok Vin recently received an offer to take the lead in the new historical short film directed by Park Chan Wook and Park Chan Kyong and decided to take part in the project. And the actor to star opposite her is none other than actor Park Jung Min.

In particular, the reunion of Kim Ok Vin and Park Chan Wook 12 years after the 2009 movie Thirst draws keen attention.

 

Credit: Watcha Play

Park Chan Wook and Park Chan Kyong’s “Parking Chance” is a project that creates experimental works that cross the boundaries of various genres. Though the entire film is shot with a phone, the project had boasted high perfection.

This new short film will also be produced as one of the “Parking Chance” projects. It’s been reported that it’ll most likely be filmed with iPhone 13 Pro.

Meanwhile, the “Parking Chance – Historical Film” project, starring Kim Ok Vin and Park Jung Min, plans to finish filming by the end of this month.
 
Source (1, 2)
Translator Kim Hoyeun: If you are a fan of K-drama, K-movie, and K-pop, I am your guy. I will continue to provide you with up-to-date K-entertainment news.

[Helena]

http://www.koreaherald.com/view.php?ud=20220111000706
‘Sewing Sisters,’ a documentary that moved Bong Joon-ho, Park Chan-wook

By Song Seung-hyun (ssh@heraldcorp.com) | Jan 11, 2022

 

“Sewing Sisters,” co-directed by Kim Jung-young and Lee Hyuk-rae (Jin Jin Pictures)

The upcoming documentary “Sewing Sisters” is a film recommended by the nation’s top filmmakers Bong Joon-ho and Park Chan-wook.

“Sewing Sisters,” co-directed by Kim Jung-young and Lee Hyuk-rae centers around three women who used to work for textile companies at Peace Market in the 1970s. 

“Parasite” director Bong appeared on stage before the film’s pre-screening event held on Jan. 4 and said, “I came here as a supporter and fan of the movie.”

“I think the film carefully unravels stories of each and every person in the labor history of Korea that are intertwined like a tangled thread, rather than explained in a grandiose style. It was a fun, moving and caring movie for me,” Bong added.

Park participated in a VIP screening event for “Sewing Sisters” held on Friday and said, “I cried throughout the movie, and at the end, I cried my eyes out as if I was bombarded. This is a movie I would recommend to everyone who was young in the ’70s and also to youngsters today.”

Instead of directly showing the poor working conditions of women, the film begins with the three climbing up a small green hill under a blue sky where three sewing machines stand. At first, they start talking casually about their sewing skills. 

The movie then slowly unveils the three women’s connection to Chun Tae-il, a labor activist and tailor at Peace Market, who immolated himself in protest after witnessing how the female workers suffer from brutal working conditions, after being exploited in the name of capitalism. 

The film proceeds in detail about what happened on Sept. 9, 1977, to female workers who joined Peace Market’s labor union that was created after Chun’s death. 

“What happened on that day is the most important incident in the film,” co-director Lee said during a press conference on Friday. “I tried to show what the emotional struggles of the women were during that time, through consecutive interviews. By the end of the film, they go back to the actual place that they used to work 40 years ago.” 

During the press conference, the three women -- Lee Suk-hee, Shin Soon-ae and Lim Mi-kyung -- said they hope that more people get to find out about their stories through this movie. 

“At first, I did not want to be part of the film, because I did not feel comfortable about people finding out what had happened to me,” former Peace Market worker Lim said. She explained that her daughter gave her the courage to tell her story through the movie. “I hope that many people watch it. I hope former workers of the market would be able to contact us after watching the film, so that we can have a reunion,” Lim added.

During the conference, the three also shared some of their personal moments experienced and felt. 

“Recently, a girl from my school told me that she cried a lot after reading a story about Chun Tae-il. I thought it was strange because I never cried reading it,” Shin said. “I later realized that I did not cry because the reality was much worse than what is written in books about Chun Tae-il.”

“I think that worse time was when I could not afford to buy sanitary pads at a pharmacy. Upon hearing the news about girls using shoe insoles as alternatives to sanitary pads, it reminded me of how we used to use the pocket of a jacket (for the same purpose). Those were rough and painful times,” Shin added.

“Sewing Sisters” will hit local theaters on Jan. 20.

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http://www.koreaherald.com/view.php?ud=20220218000492
Director Park Chan-wook unveils iPhone film 'Life is But A Dream'

By Park Ga-young (gypark@heraldcorp.com) | Feb 19, 2022

(From left) Cinematographer Kim Woo-hyung, actor Yoo Hae-jin, actress Kim Ok-vin, director Park Chan-wook and actor Park Jeong-min pose for photos. (Apple)

Park Chan-wook, the director of ‘Oldboy,’ and ‘The Handmaiden,’ unveiled a short martial arts fantasy filmed with Apple iPhone 13 Pro on Friday.

“Life is But a Dream ‘’ revolves around an undertaker, played by Yoo Hae-jin, who needs wood to build a coffin for the savior of his village, played by Kim Ok-vin, and digs up an abandoned grave. But while doing so, he accidentally awakens the ghost of an ancient swordsman, played by Park Jeong-min, who wants to take back his coffin.

“‘Life is But a Dream’ seemingly begins as a horror film, then slowly reveals itself to be a mix of fantasy, martial arts, rom-com, and musical,” Park said of the film.

The movie, written by Park, is also a collaboration with cinematographer Kim Woo-hyung; Jang Young-gyu, a music director who is also the leader of pansori pop band Leenalchi, best known for its hit song “Tiger is Coming”; and choreographer Monika Shin, of whom director Park became a fan after watching Mnet’s dance survival show “Street Woman Fighter” last year.

This is Park’s second film shot on an iPhone. In 2011, he created a 30-minute ‘Night Fishing’ shot entirely with iPhone 4. Park won the Golden Bear Award for best short film at the 61st Berlin International Film Festival, and liked the memory so much that he continued making short films afterwards. ”I wanted to make a new short film with a device equipped with advanced technology again this time,“ the director added.

A scene from “Life is But a Dream” (Apple)

For future directors, smartphones can be a great tool to experiment with camera angles, he said.

“The story of the movie is important, but how to organize the screen is the most difficult problem for the beginners. You can experiment with screen composition with a smartphone,” Park added. 

“Life is But a Dream” and the making of the film were made available on Apple’s YouTube channel on Friday. 
 

—Additional articles:
Park Chan-wook, Apple team up for short film 'Life is But a Dream'

Filmmaker Park Chan-wook merges tradition with Apple's latest technology

Park Chan-wook's short martial-arts film shot entirely on iPhone released

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http://www.koreanfilm.or.kr/eng/news/news.jsp?blbdComCd=601006&seq=5720&mode=VIEW
Park Chanwook Unveils New Short Film LIFE IS BUT A DREAM

by Pierce Conran | Feb 24, 2022

iPhone-Shot Period Martial Arts Film Stars Kim Okvin, Yoo Haejin and Park Jungmin

Life Is But a Dream (2022)

While the world awaits Park Chanwook’s highly anticipated forthcoming feature Decision to Leave, the master Korean filmmaker has returned with a new short film. Life Is But a Dream reunites him with his Thirst (2009) star Kim Okvin and also features Yoo Haijin and Park Jungmin, both working with Park for the first time.

 
A comic period drama with martial arts and performative dance sequences, the film was commissioned by global tech giant Apple and shot exclusively on their new iPhone 13 Pro models. The film was shot by legendary cinematographer Kim Wuhyeong, who previously worked with Park on his BBC mini-series The Little Drummer Girl. 

 
Life Is But a Dream takes place during the Joseon Era and follows a peasant (Yoo) who attempts to steal a coffin to give a proper burial to a warrior (Kim) who died saying his village, only to disturb the spirit of the swordsman (Park) within it, who then duels with the warrior. The film mixes fantasy, martial arts and traditional Korean narrative performance styles such as pansori and madanggeuk.

 
Producing the film along with Park were his brother Park Chankyoung and Baek Jiseon, the head of Park’s production company Moho Film. Director Park and his brother, under the moniker ‘PARKing CHANce’, previously made the short film Night Fishing, which was also shot on an earlier iPhone model and earned the Golden Bear for Best Short Film at the 61st Berlin International Film Festival in 2011.

 
Director Park’s last feature film was The Handmaiden, which bowed at the Cannes Film Festival in 2016. Currently in post-production, his next film Decision to Leave stars Tang Wei and Park Haeil and is due out later this year. 

 
Life Is But a Dream was launched on Apple’s YouTube channel and Apple TV+ on February 18.

[Helena]

 

A poster of "Decision to Leave" by CJ ENM

Spoiler

 

cr: https://twitter.com/cjenmmovie/status/1514546054229753861

 

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https://koreajoongangdaily.joins.com/2022/04/14/entertainment/movies/Park-Chanwook-Decision-to-Leave-Cannes/20220414194009960.html
Park Chan-wook’s 'Decision to Leave' invited to compete at Cannes

BY LEE JAE-LIM [lee.jaelim@joongang.co.kr] | April 14, 2022

 

Director Park Chan-wook [WATCHA]

Renowned filmmaker Park Chan-wook’s latest film “Decision to Leave” has been invited to compete at the 75th Cannes Film Festival.  It’s Park’s first film after a six-year hiatus since “The Handmaiden,” which was released in 2016.

“Decision to Leave” is about a police detective who finds himself attracted to a mysterious widow after she becomes the prime suspect in his latest murder investigation.  Actors Park Hae-il, Tang Wei, Lee Jung-hyun, Go Kyung-pyo and Park Yong-woo feature in the film. 

Park is no stranger to Cannes: his 2003 film “Oldboy” won the Grand Prix at the 57th edition and 2009 film “Thirst” won Prix du Jury at the 62nd edition.

At the 72nd edition in 2019, director Bong Joon-ho’s “Parasite” made cinematic history for Korea after receiving the highest honor — the Palme d’Or. The film went on to win four Oscars including Best Picture and Best Director the following year.

The 75th edition of Cannes will run from May 17 to 28.

 

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https://en.yna.co.kr/view/AEN20220414012251315
'Broker,' 'Decision to Leave' to compete for Palme d'Or at Cannes

By Kim Boram (brk@yna.co.kr) | April 14, 2022

SEOUL, April 14 (Yonhap) -- "Decision to Leave" by renowned Korean director Park Chan-wook and "Broker" by award-winning Japanese auteur Hirokazu Kore-eda were selected for the competition section of the 75th Cannes Film Festival.

In the official selection announced by the festival Thursday, the two Korean films were among 18 works competing for the highest honor, the Palme d'Or, this year.

It is the first time in five years that two Korean films have been invited to the official competition section since 2017, when Bong Joon-ho's "Okja" and Hong Sang-soo's "The Day After" made the list.

Last year, no Korean-made films were contending at the world's most prestigious film fest. Two films -- Hong Sang-soo's "In Front of Your Face" and Han Jae-rim's "Emergency Declaration" -- were listed in non-competition sections.

"Broker" is written and directed by Japanese director Kore-eda, who took home the Palme d'Or for "Shoplifters" in 2018, but produced by Korean companies, like CJ ENM, and starring Korean actors, including Song Kang-ho of "Parasite."

It is the Cannes-winning director's first Korean-language project about adoption, featuring the relationships of characters formed through a baby box, where people anonymously drop off newborns that they can't raise.

"It's Hirokazu Kore-eda with a movie made in Korea. Korea is very attractive to movies," said Thierry Fremaux, artistic director of the annual film festival, during a press conference streamed online. "We find here again one of the greatest Korean actors, and a former member of the jury, Song Kang-ho, who is playing in this movie."

Park, who has won two titles at Cannes for "Oldboy" (2003) and "Thirst" (2009), returned to Cannes in six years since "The Handmaiden" was invited to the competition in 2016.

His most recent film "Decision to Leave" is about a detective who suspects a mysterious widow in a murder case and later becomes interested in her. Chinese actress Tang Wei of "Lust, Caution" (2007) and Korean actor Park Hae-il star in the film.

"It's meaningful to participate in a film festival in the midst of the pandemic," the director said through local distributor CJ ENM. "I'll see as many films as possible at Cannes and will give a standing ovation to them longer than any other people there."

At the same time, the spy action film "Hunt," which is "Squid Game" star Lee Jung-jae's directorial debut, was invited to the festival's out-of-competition "Midnight Screenings."

"Thank you so much to the Cannes Film Festival," Lee said in a statement. "It's an honor to have the premier of my first directorial film at Cannes."

This year's Cannes Film Festival will kick off on May 17 and run through May 28.

(END)

[Helena]

https://k-odyssey.com/news/newsview.php?ncode=1065577407146341
‘Decision to Leave’ director Park Chan-wook says “great spring news to be invited to Cannes”

Yonhap News / 2022-04-15 10:43:13

(This article is translated from Korean to English by An Hayeon.)

 

Spoiler

▲ A poster of "Broker" by Zip Cinema (PHOTO NOT FOR SALE) (Yonhap)

▲ A poster of "Decision to Leave" by CJ ENM (PHOTO NOT FOR SALE) (Yonhap)

 

Spoiler

▲ This image provided by Megabox Plus M shows a scene from "Hunt." (PHOTO NOT FOR SALE) (Yonhap)

SEOUL, April 15 (Yonhap) -- “It’s great spring news for everyone who participated in the film ‘Decision to Leave,’” said Director Park Chan-wook, who is entering the competition section of the 75th Cannes Film Festival for the first time in 6 years since “The Handmaiden.”

 


"It's meaningful to participate in a film festival amid the pandemic," the director said through local distributor CJ ENM, on Thursday.

 


“I've had plenty of time to think about the meaning of watching a movie theater in groups,” adding, "I'll see as many films as possible at Cannes and will give a standing ovation to them longer than any other people there,” said Park.

 


The film’s lead actress Tang Wei said, “I’m so happy," adding, "I hope the day will come soon when everyone returns to the theater and recovers their daily lives."

 


Korean actor Park Hae-il explained, “It was a meaningful time during filming, and I’m even happier to participate in the Cannes Film Festival,” adding, “As I’ve waited for the day to watch a movie in the theater with a lot of people, I’m excited to meet the audience all over the world with ‘Decision to Leave.’”

 
Park, who has won two titles at Cannes for "Oldboy" (2003) and "Thirst" (2009), will put his name for the fourth time with “Decision to Leave,” following “The Handmaiden” (2016).



Japanese director Kore-eda, who took home the Palme d'Or for "Shoplifters" in 2018, was nominated once again for the Korean film “Broker.” The director said, “I'm glad that this work, which transcends language and cultural differences, was highly praised and it’s a relief that not only me but all the staff and actors who participated in the work were rewarded.”

 


"This will be my first time attending the Cannes Film Festival in four years, and I want to use it as a good opportunity to think about the meaning of continuing to make and deliver movies to the world at a time of confusion,” added the director. 



Director Kore-eda was nominated for his sixth time in the competition section and set a record for entering the Cannes Film Festival for the eighth time in his career, including the Un Certain Regard section. 



Actor Song Kang-ho will attend the Cannes Film Festival for the seventh time after the film “The Host” (2006, Director's Fortnight), “Secret Sunshine” (2007, In Competition), “The Good, the Bad, the Weird” (2008, Out of Competition), “Thirst” (2009, In Competition·Jury Prize), “Parasite” (2019, In Competition·Palme d'Or), “Emergency Declaration" (Out of Competition). 

 


Song said, “It’s always exciting and fun to be at the Cannes Film Festival,” adding, “I’m honored and thankful to share the news with director Kore-eda and my fellow actors.” 



This will be the fourth time for actress Bae Doo-na to be invited to the Cannes Film Festival after “The Host,” “Air Doll” (2009, Un Certain Regard), and “A Girl at my Door,” (2014, Un Certain Regard). 



The film "Peninsula," has been named for the Cannes Film Festival, but actor Gang Dong-won was not able to attend since the festival was not held. Gang shared, “I am very grateful that I could hear such good news as this is a work that everyone filmed with all their heart.” 



Lee Ji-eun (IU), who will attend the Cannes Film Festival for the first time said, “I was grateful that I learned a lot last spring and all my experiences were magical while filming ‘Broker,’” adding, “I'm excited and looking forward to attending the Cannes Film Festival because this spring will be as magical as last year's.” 



Lee Jung-jae, who was invited to the festival's out-of-competition "Midnight Screenings,” with his directorial debut film “Hunt,” said, "Thank you so much to the Cannes Film Festival. It's an honor to have the premiere of my first directorial film at Cannes."

 


Lee said, "I think today's results come from the passion of the production team and the efforts of the actors who performed with all their might," adding, "Thank you for your interest and support, and I look forward to a good response at the Cannes Film Festival."  (END)
 

(C) Yonhap News Agency. All Rights Reserved

 

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http://english.chosun.com/site/data/html_dir/2022/04/15/2022041500896.html
Park Chan-wook, Koreeda's Korean Films to Compete at Cannes Festival

By Kim Sung-hyun | April 15, 2022 10:36

Park Chan-wook (left) and Hirokazu Koreeda

Two Korean films have been invited to the competition section of this year's Cannes Film Festival, which announced its official selections on Thursday. The festival will run from May 17 through 28.

Director Park Chan-wook's new film "Decision to Leave" and Japanese director Hirokazu Koreeda's Korean-backed movie "Broker" are among 18 films that will compete for the top prize.

"Decision to Leave," starring Park Hae-il and Chinese actress Tang Wei, revolves around a police detective and the wife of the victim of a murder he investigates.

"Broker" portrays the unexpected journey of those whose lives are linked through a "baby box," where mothers who feel unable to raise a child can drop off their babies anonymously for adoption. It boasts a star-studded cast including Song Kang-ho, Kang Dong-won, Bae Doo-na and IU.

Both Park and Koreeda have won multiple awards at the French film festival.

Park won the Grand Prix for "Oldboy" in 2004 and the Jury Prize for "Thirst" in 2009, while "The Handmaiden" was invited to the competition section in 2016.

Koreeda won the Jury Prize for "Like Father, Like Son" in 2013 and the Palme d'Or for "Shoplifters" in 2018.

Park said, "It is great news for the entire cast and crew of 'Decision to Leave.' I will watch as many films as possible and give standing ovations longer than anyone else."

Lee Jung-jae, who shot to global fame starring in Netflix's hit Korean series "Squid Game," will also be at Cannes, as his directorial debut "Hunt" has been invited to the Midnight Screenings. He also plays the lead role in the film alongside his close friend Jung Woo-sung.

"I'm really honored to have the premiere of my directorial debut at Cannes," Lee said. 

[Helena]

http://www.koreaherald.com/view.php?ud=20220415000540
Three Korean films to be screened at Cannes

By Song Seung-hyun (ssh@heraldcorp.com) | Apr 15, 2022

 

Spoiler

English poster of “Broker” directed by Hirokazu Kore-eda (CJ ENM)

One of the most recognized film festivals worldwide, Cannes Film Festival announced its official selection list for this year Thursday, including three Korean films-- “Decision to Leave,” directed by Park Chan-wook, “Broker” directed by Hirokazu Kore-eda and “Squid Game” star Lee Jung-jae’s directorial debut “Hunt.”

Park and Kore-eda’s films were invited to the festival’s main competition category. A total of 18 contenders were listed in this category on Thursday.

“At Cannes this year, I’m going to watch as many films as I can. I am also ready to give a longer standing ovation than anybody,” Park said in a statement.

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.

The script of “Decision to Leave” was co-written with Jeong Seo-kyeong, with whom Park has worked on multiple films, including “I’m a Cyborg, but That’s OK” (2006), “Thirst” (2009) and “The Handmaiden” (2016).

“Broker” is Kore-eda’s first Korean movie. The Japanese director, who won the Palme d’Or at the Cannes Film Festival in 2018 for “Shoplifters,” wrote and directed the new Korean film and worked with CJ ENM, the entertainment unit of South Korean conglomerate CJ Group, which financed and produced the project.

It features famous Korean actors including Song Kang-ho, Gang Dong-won, Bae Doo-na, and IU.

“Parasite” star Song and “Oldboy” director Park, who worked together on “Thirst” in 2009, will be competing against each other this year. 

At that time, Park’s film “Thirst” won Prix du Jury prize at Cannes that year. 

The Korean director Park was also awarded the Grand Prix, the second-highest prize at the festival, for his thriller “Old Boy” in 2004. 

Bong Joon-ho’s “Parasite” starring Song grabbed the highest honor at the Cannes Film Festival in 2019.

Both Park and Kore-eda’s films are set to hit local theaters in June. 

 

Korean poster of “Decision to Leave,” directed by Park Chan-wook (CJ ENM)

Actor-turned-filmmaker Lee’s spy thriller “Hunt,” staring Korean heartthrob Jung Woo-sung, was invited to screen at the Midnight Screening, a non-competitive section of the festival. Lee also appears in the movie as one of the leading actors.

Set in the 1980s, elite agent Park Pyung-ho (Lee) works at the Agency for National Security Planning and got a mission to chase after a North Korean spy. While doing that he becomes increasingly aware of his own country’s dark truths. 

“It’s a great honor to have my directorial debut feature screened at Cannes,” Lee said in a statement.

Lee participated in the film festival in 2010, in relation to his appearance in “The Housemaid.”

The 75th Cannes Film Festival will run from May 17-28.

[Helena]

http://www.koreanfilm.or.kr/eng/news/features.jsp?blbdComCd=601013&mode=FEATURES_VIEW&seq=562
Korean Films, Decision to Leave & Broker, Invited to the Competition at the 75th Cannes

by Hellen Park | Apr 15, 2022

 

Hunt, Global Star Lee Jungjae’s Directorial Debut, Invited to the Midnight Screenings at Cannes

The 75th Cannes International Film Festival heralded a lively start in full swing by announcing its official invitations to the competition section. “The world cinema is starting to get back in shape, and this year marks a return to a quasi-normality.” At the official press conference of the Cannes International Film Festival held at the Champs-Elysees in Paris on April 14 (local time), Thierry Frémaux, the artistic director of the festival, announced the official invitations in a hopeful voice.

This year, Cannes clearly showed its affection for Korean films. Two directors representing Korea and Japan, who have been favored by Cannes, have been invited to the competition section with Korean films. Park Chanwook’s Decision to Leave and Kore-eda Hirokazu’s Broker are the main characters. It is the first time in five years that two Korean films have been invited to the competition section together since Bong Joonho’s Okja and Hong Sangsoo’s The Day After in 2017. Also, it is the first time in three years that Korean films have been invited to the competition section since PARASITE in 2019. In addition, Actor Lee Jungjae, who has firmly established himself as a global star with Squid Game, will be on the red carpet of the Midnight Screenings as a ‘director’ in Cannes this year.

With Decision to Leave, Director Park Chanwook Returns to Cannes in 6 Years

Even before the official announcement, Director Park Chanwook’s Decision to Leave was already mentioned by foreign media as a strong contender in the competition section. Director Park already has a deep connection with Cannes. He won the Grand Prize for Oldboy (2003), and the Jury Prize for Thirst (2009), and was nominated for the Grand Prize for The Handmaiden in 2016. Now, six years later, Director Park has made it to the competition section again. Including Decision to Leave, Director Park has been invited to Cannes four times, setting the tied record of most invited directors with Director Hong Sangsoo, who also has been invited to the festival four times.

Director Park Chanwook’s Decision to Leave is an authentic melodrama starring Korean actor Park Haeil and Chinese actor Wei Tang. There is a murder case in the mountain, and the detective (Park Haeil) investigating the case suspects the wife (Wei Tang) of the deceased as a prime suspect. However, the two characters gradually get caught up in uncontrollable emotions. Given that Director Park’s films have always been hot melodrama full of blood, this work is also expected to show a new level of melodrama. 

 

At the news of the official invitation to the Cannes competition, Director Park said, “It’s good spring news for everyone who participated in the film. It feels more special because the film festival is held in a situation where the Pandemic hasn't ended yet. I’ve had plenty of time to think about the meaning of watching a movie at a theater in groups. I’ll see as many films as possible at Cannes and will give a standing ovation to them longer than any other people there this time.” Wei Tang, the main character, also said, “I’m so happy and send congratulations to every staff member of the film. I hope the day will come soon when everyone returns to the theater and recovers their daily lives.” Park Haeil also conveyed the joy of the invitation, saying, “Since I’ve waited for the day to watch a movie in the theater with a lot of people, I’m so excited to meet the audience all over the world with the film.”

 

Spoiler

Director Kore-eda Hirokazu Goes to Cannes for Broker, the Korean Film, with Song Kangho of PARASITE

Director Kore-eda Hirokazu, who already won the Palme d’Or at Cannes for Shoplifters in 2018, has been invited to the Cannes competition section this year, which is very special. It’s because his new film, Broker, is a Korean film produced by ‘ZIP CINEMA’ a Korean film production company, and CJ ENM is in charge of the investment and distribution of the film. On top of that, superb actors such as Song Kangho of PARASITE, who won the Palme d’Or in 2019, Bae Doona, the director’s persona, Gang Dongwon, who heralds global activities, and Lee Jieun (IU), a K-pop star and actor appear in the film. Introducing the film, Thierry Frémaux, the artistic director of the festival, said, “Kore-eda Hirokazu, a Japanese master director who won the Palme d’Or, will return to the festival with Korean actor Song Kangho and an attractive Korean film Broker,” keeping his hopes high.

Director Kore-eda Hirokazu said, “I’m grateful that this work, which transcends language and cultural differences, was highly praised. With this work, I’ll be participating in the Cannes International Film Festival for the first time in four years, and I would like to use it as a good opportunity to think about the meaning of making and delivering movies to the world at a time of confusion.”

Song Kangho, who participated at Cannes as a judge, said, “It’s always exciting and fun to be at the Cannes International Film Festival.” Actor Bae Doona, who has already visited Cannes four times, happily said, “It’s a special movie for me just to work again with Director Kore-eda Hirokazu in 12 years after Air Doll.”

Hunt, Lee Jungjae’s Directorial Debut, Going to the Midnight Screenings with Actor Jung Woosung, the Director’s Old Buddy

Actor Lee Jungjae, who has been nominated for Best Actor several times at Hollywood’s awards ceremonies through the worldwide success of Squid Game, will stand on the red carpet as a ‘director’ for the first time in his life. Hunt, Lee Jungjae’s directorial debut film, has been invited to the ‘Midnight Screenings,’ one of the Out of Competition sections at Cannes this year. At the news of the invitation from Cannes, Lee Jungjae said, “I think today’s result has come from the passion of the production team and the efforts of the actors who performed with all their might. Thank you for your interest and support. I look forward to a good response at the Cannes International Film Festival.”

Lee Jungjae’s directorial debut film, Hunt, is a spy thriller about two NIS agents doubting each other in the process of finding spies in the organization. Lee Jungjae directed, produced, adapted, and even starred in the film. Actor Jung Woosung stars in the film to play the opposite spy character who conflicts with Lee Jungjae’s character. Lee Jungjae and Jung Woosung, the old buddies and colleagues who have been top stars in the Korean cinema since the 1990s, reunited for Hunt 20 years after they co-starred in City of The Rising Sun, directed by Kim Sungsoo. The Midnight Screenings is an Out of Competition section that introduces genre films that combine the cinematic quality and the popularity, and Korean commercial films such as TRAIN TO BUSAN, etc. had opportunities to meet global audiences through the section.

In addition, a film we need to pay attention to has been invited. All the People I'll Never Be, directed by Davy Chou, a rising star in the Cambodian film industry, has been invited to the Un Certain Regard. Just like its French title ETOUR À SÉOUL, Korean actors Oh Kwangrok, Park Jimin, and Kim Sunyoung appear in the film set in Korea. The film also received KOFIC’s Location Incentive 2021.

 

Following PARASITE, Can Korean Films Win the Awards at Cannes This Year?

 

The Cannes International Film Festival has also suffered from the global COVID-19 Pandemic since 2020. The festival in 2020 had to be satisfied with the announcement of the selections without an event, and it gave up the traditional May event to avoid the Pandemic and held the ceremony in July 2021. The size of the event had to be reduced as well. However, this year in 2022, as Thierry Frémaux, the artistic director of the festival, declared, the festival will be held in May again and is expected to be crowded with movie-thirsty film industry officials from around the world. In addition, attention is being paid to whether the performance of Korean films led by Director Bong Joonho’s PARASITE in 2019 will continue at Cannes this year, which is preparing for getting back in shape after the Pandemic. At least, Director Park Chanwook, who has already won two titles in the Cannes competition, and Director Kore-eda Hirokazu, the winner of the Palme d’Or, are expected to win main awards in the competition section at Cannes this year.

With the opening film Z, directed by Michel Hazanavicius, the 75th Cannes International Film Festival will be held in Cannes, France, from May 17 to 25, 2022. 
  
2022 CANNES FILM FESTIVAL
COMPETITION LINEUP
<Armageddon Time> James Gray (U.S.)
<Boy From Heaven> Tarik Saleh (Sweden)
<Broker> Kore-eda Hirokazu (Korea)
<Brother and Sister> Arnaud Desplechin (France)
<Close> Lucas Dhont (Belgium)
<Crimes of the Future> David Cronenberg (Canada)
<Decision to Leave> Park Chan-Wook (Korea)
<Eo> Jerzy Skolimowski (Poland)
<Forever Young> Valeria Bruni Tedeschi (France)
<Holy Spider> Ali Abbasi (Iran)
<Leila’s Brothers> Saeed Roustaee (Iran)
<Nostalgia> Mario Martone (Italy)
<RMN> Cristian Mungiu (Romania)
<Showing Up> Kelly Reichardt (U.S.)
<Stars at Noon> Claire Denis (France)
<Tchaïkovski’s Wife> Kirill Serebrennikov (Russia)
<Tori and Lokita> Jean-Pierre Dardenne and Luc Dardenne (Belgium)
<Triangle of Sadness> Ruben Östlund (Sweden)

[Sleepy Owl]

Event: Kdrama Characters You Love to Hate

 

Vote for your favorite "Hateful" Character here!!! 

 

 

Your Event Organizers,

@partyon @Sleepy Owl @confusedheart @agenth

[Helena]

https://variety.com/2022/film/asia/park-chan-wooks-cannes-competition-film-decision-to-leave-grabbed-by-mubi-1235243522/
Park Chan-wook’s Cannes Competition Film ‘Decision to Leave’ Grabbed by Mubi

By Patrick Frater | Apr 28, 2022 7:11am PT

CJ Entertainment

“Decision to Leave,” the detective mystery by Korean director Park Chan-wook that will debut in competition in Cannes next month, is to be given theatrical releases in the U.S. and U.K. by streaming platform Mubi.

Mubi, which pitches itself as a global distributor, streaming service and production company, picked up multiple territory rights including North America, U.K., Ireland, Turkey, and India, in a deal with South Korea’s CJ Entertainment.

“The film will be released theatrically in the U.S. and the U.K. with fall 2022 release dates planned, followed by an exclusive Mubi streaming release,” Mubi said.

“Decision to Leave” was produced by Moho Film (“Sympathy for Lady Vengeance,” “Thirst,” “The Handmaiden” and “Snowpiercer”) and is presented by “Parasite” studio CJ ENM.

The film stars Park Hae-il (“The Host,” “Memories of Murder”) and China’s Tang Wei (“Lust, Caution,” “Blackhat”) in a tale about a detective who develops a personal interest in the woman who should be the chief suspect in his ongoing murder investigation.

One of the most influential directors to emerge from the Korean film powerhouse, Park was previously in Cannes with “Oldboy” in 2003, “Thirst” in 2009 and with “The Handmaiden” in 2016.

“Oldboy” was part of a loose ‘revenge trilogy’ that also included “Sympathy for Mr. Vengeance” in 2002 and “Sympathy for Lady Vengeance” in 2005. Park made his Hollywood debut with Nicole Kidman and Mia Wasikowska-starring “Stoker” in 2013 and also directed TV series “The Little Drummer Girl” in 2018.

Mubi, known for a closely-curated streaming offering, calls itself “the biggest community of film lovers,” in the world with more than 12 million members and availability in 190 countries.

As a producer, the company will see its co-production “One Fine Morning” from Denmark’s Mia Hansen-Løve premiere at Cannes in the Directors’ Fortnight section.

The CJ group of companies have been pioneers in the contemporary Korean film and television industries, getting their start in 2005 in an alliance with DreamWorks SKG. The CJ Entertainment film division has a filmography that includes Lee Chang-dong’s “Secret Sunshine,” “Bong Joon-ho’s “Snowpiercer” film, record breakers “Miss Granny,” “Ode to My Father” and “Roaring Currents” as well as Bong’s Oscar-winner “Parasite.”

The company has a second film in competition at Cannes this year, “Broker,” the first Korean-language feature by previous Palme d’Or-winner Kore-eda Hirokazu.

[Helena]

[ cjenmmovie ] < Decision to Leave> ★ Confirmed to be released on June 29 ★
The 1st trailer will be out on May 11 (Wednesday) at 6pm.

 

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https://zapzee.net/2022/05/06/park-chan-wooks-new-movie-decision-to-leave-unveils-intense-special-teaser-and-confirms-june-release/
Park Chan Wook’s New Movie ‘Decision to Leave’ Unveils Intense Special Teaser and Confirms June Release

by krishkim

The award-winning director Park Chan Wook is returning with Decision to Leave.

On the 6th, CJ ENM announced that the new movie Decision to Leave, Park Chan Wook’s 4th movie to be invited to the Cannes Film Festival, confirmed its release on June 29th. Along with the news, they released a special teaser that gives a glimpse into the charming characters and their relationship.

Decision to Leave is about a detective investigating an unnatural death case that took place on a mountain and the doubts and attraction he feels towards the deceased’s wife.

Starting with the movie Oldboy, which director Park Chan Wook won the Grand Prix at the 2004 Cannes Film Festival, he won the Prix du Jury with the vampire film Thirst in 2009 and premiered The Handmaiden in 2016. And with Decision to Leave, Park achieved the feat of getting invited to Cannes for the fourth time.

Credit: CJ ENM

The special teaser shows the first look into Park Chan Wook’s first Korean movie in six years. Hae Joon (Park Hae Il) and the mysterious Seo Rae (Tang Wei) are standing in front of the ocean. The two, who first met as a detective and the deceased’s wife, gradually grow closer, forming a subtle tension between them.

The teaser ends by heralding the rush of emotions that Seo Rae and Hae Joon feel, heightening expectations for Park Chan Wook’s new mystery film.

 

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https://k-odyssey.com/news/newsview.php?ncode=1065590414599428
Park Chan-wook’s 'Decision to Leave' to be released on June 29

Yonhap News / 2022-05-06 14:20:54
(This article is translated from Korean to English by Kim Sun Min.)

▲ This photo, provided by CJ ENM, shows "Decision to Leave." (PHOTO NOT FOR SALE) (Yonhap)
 
SEOUL, May 6 (Yonhap) – S. Korean filmmaker Park Chan-wook’s new film “Decision to Leave,” which was selected for the competition section of the 75th Cannes Film Festival this year, will be released in Korea on June 29, according to the distribution company CJ ENM on Friday.

 


“Decision to Leave” depicts the story of a detective Hae-jun(Park Hae-il), who investigates the murder case in the mountains, developing an interest in the dead man’s mysterious wife Seo Rae(Tang Wei). It is Park’s first film in six years since the movie “The Handmaiden” was released, and it is also Park’s fourth Cannes competition title. (END)
 

(C) Yonhap News Agency. All Rights Reserved

[Helena]

https://www.screendaily.com/features/how-will-covid-caution-affect-turnout-of-asian-industry-in-cannes/5170179.article
How will Covid caution affect turnout of Asian industry in Cannes?

BY JEAN NOH, SILVIA WONG, MICHAEL ROSSER || 6 MAY 2022

As the international film industry prepares to return to Cannes, many still question the extent to which Asia will be represented on the Croisette.

 

SOURCE: MUBI
PARK CHAN-WOOK’S ‘DECISION TO LEAVE’ WILL PLAY IN COMPETITION AT CANNES

 

“Asia isn’t back to travel,” said Cannes’ general delegate Thierry Frémaux last month, acknowledging the travel restrictions that remained in countries across Asia, following Covid spikes in Japan, Hong Kong and elsewhere.

The prevailing attitude toward the virus from many across the continent is highly cautious. For example, at South Korea’s Jeonju International Film Festival this month, Screen did not see a single person without a mask in screenings, at outdoor events and from the public at large on any given street.

Meanwhile, Japanese actor-director Takeshi Kitano was pulled out of a long-planned trip to the Far East Film Festival in Italy’s Udine, citing Covid concerns among other factors.

Nevertheless, Asia will be back in Cannes, albeit in smaller numbers.

The Film Development Council of the Philippines (FDCP) will continue its partnership with Singapore’s Infocomm Media Development Authority (IMDA), sharing a pavilion in the Riviera’s International Village. FDCP will bring a delegation of more than 50 filmmakers and government partners to Cannes, while companies from Singapore include Encore Films, M’Go Films and the Singapore International Film Festival.

The new Mongolian National Film Council (MNFC) will make its market debut in the Palais des Festivals, with a delegation of Mongolian filmmakers, distributors and government officials led by MNFC’s new head Undral Choimpog and Mongolian minister of culture Nomin Chinbat.

Also present will be Thailand’s Department of International Trade Promotion (DITP), the National Film Development Corporation Malaysia (FINAS) and Taiwan Creative Content Agency (TAICCA). The physical Taiwan pavilion will present 91 titles from 39 companies, a 40% increase from 2021.

However, the Hong Kong pavilion will only be accessible online for the second consecutive year, a reflection of the travel restrictions and quarantine measures which have recently been relaxed but remain in place to some extent.

Albert Lee, executive director of Hong Kong International Film Festival, is one who will not be making the trip. “Travelling overseas continues to be haphazard for us in Hong Kong, with returning flights and quarantine hotels at a premium,” says Lee. “But some of my colleagues from programming and the industry office will be in Cannes for the first time in three years with the HAF Goes To Cannes programme.”

Mandy Lam, general manager of sales and acquisitions at Hong Kong-based studio Edko Films, will also be attending, “having not been to a physical film festival for over two years because of the ever-changing quarantine measures”.

With some relaxation of regulations happening, “we believe it is a good time for us to be back to the physical film market,” she adds. “Coming back to the physical market, we hope to strengthen our relationship with sales companies.”

But not all are convinced. June Wu, head of international sales at Taiwan’s Distribution Workshop, told Screen: “I won’t be going to Cannes this year, as there are not many new titles from us to justify my trip. We have titles in post-production from both China and Taiwan, but due to the surge of Covid daily cases, many mainland Chinese cinemas are facing temporary closures. The status for these titles is pending, with no specific release schedules.

“Even though I haven’t physically attended any markets in the last two years, we managed to sell to different regions pretty well and the deals went smoothly so online meetings will be sufficient.”

Wu adds that Taiwan still requires 10 days of quarantine and seven days of self-health checks when entering the country, which would impact her work locally.

From India, which has been chosen as the country of honour at this year’s Marché, the Federation of Indian Chambers of Commerce and Industry (FICCI) will be in attendance with the minister for information and broadcasting, Anurag Thakur.

Organisations and distributors set to attend from India include the National Films Development Corporation (NFDC), Shemaroo Contentino, Star Entertainment, Impact Films and Pictureworks. However, one source said: “While the Indian film industry is participating in full swing this year, there are complaints that many of the country’s sales agents won’t be coming to Cannes so they’re unable to organise meetings.”

Japan and Korea

From elsewhere in Asia, UniJapan will be opening a pavilion and booth in Cannes, while Japan’s Gaga Corporation chairman Tom Yoda will be attending with a team to hold meetings with buyers and sellers. But there will also be remote activity.

“Our sales executive in charge of Asian territories is attending online only as many buyers are doing online only, and time difference-wise, it is better for her to stay back in Japan,” says Haruko Watanabe, head of international sales at Gaga Corporation. “Of course, our acquisition team will be there [in Cannes] to meet the international sellers. We are one step closer to the pre-Covid time.”

Korea’s CJ ENM, on the other hand, will be out in force. The major investor-distributor has two films vying for the Palme d’Or in Competition: Park Chan-wook’s Decision To Leave and Hirokazu Kore-eda’s Broker.

“We heard that on the Asian side [many buyers are opting to stay home],” says Park Jungmin, CJ ENM’s head of international sales and distribution. “Quarantine standards are different from country to country on return. But we have two films in Competition so of course we all have to go and need to meet with buyers from Europe, the Americas and the Middle East.”

Also with films at the festival are Korea’s Megabox, which has espionage thriller Hunt, the directorial debut of Squid Game star Lee Jung-jae, which will play in Midnight Screenings; and Finecut, which will be selling July Jung’s Next Sohee, set to open Critics’ Week. Both firms will have teams on the ground.

With such a strong presence in Official Selection, the Korean Film Council (KOFIC) will be holding a Korean Film Night to celebrate and provide networking opportunities.

Companies such as K-Movie Entertainment, Contents Panda and Lotte Entertainment will also be attending with new films on their slates.

“We want to show everyone that Contents Panda is still alive and kicking,” says Danny Lee, executive vice president at Contents Panda of being present in-person on the Croisette. “We’re eagerly looking forward to Cannes with our line-up.”

Representatives from the Busan, Bifan and Jeonju film festivals are attending as well, acknowledging the need to get out and network for their festivals.

Conversely, companies such as M-Line Distribution and Showbox have opted not to attend, citing the fact that they do not have a significant number of new films on their slates; low participation rates from their buyers; and concerns over health safety and care standards that are noticeably more lax than at home.

“Asian buyers’ participation is going to be too low and we’d just be doing online meetings from Cannes,” says Rachel Joo, head of sales at M-Line Distribution. “European buyers are important, too, but we’d still have to coordinate time zones.

“We still don’t know how the situation with Covid-19 will pan out. The procedures for returning to Korea are a consideration, as is the uncertainty of what would happen if we got sick in Cannes.”

Looking beyond Cannes, the buyers and sellers not travelling from Asia to the south of France this month point to Busan and Tokyo as festivals and markets they are anticipating attending physically. There, they acknowledge that people are more conscientious about wearing masks and sanitising whether government-mandated or not.

Travel times are also shorter as a journey to Cannes requires at least 20 hours travel with two flights, the avoidance of Russian airspace adding even more to the time spent in planes. It all adds up to the fact that it will be some time before numbers from Asia return to pre-pandemic levels.

[Helena]

https://www.festival-cannes.com/en/films/heojil-kyolshim

IN COMPETITION - FEATURE FILMS
HEOJIL KYOLSHIM
(DECISION TO LEAVE)
Directed by : PARK Chan-Wook
Year of production : 2022 | Country : SOUTH KOREA | Length : 138 minutes

 

 

SYNOPSIS

 

A man falls from a mountain peak to his death.
The detective in charge, Hae-joon (PARK Hae-il),
comes to meet the dead man's wife Seo-rae (TANG Wei).



"I worry when he does not come back from a mountain,
thinking he might die at last."



Seo-rae does not show any signs of agitation at her husband's death.
With her behavior so unlike that of a grieving relative, the police consider her a suspect.
Hae-joon interrogates Seo-rae,
and while observing her on stakeout,
feels himself slowly developing an interest in her.



Meanwhile the difficult-to-read Seo-rae, 
despite being suspected of a crime,
acts boldly towards Hae-joon.



A suspect who is hiding her true feelings.
A detective who suspects and desires his suspect.
Their Decision to Leave.

 

 

VIDEOS

https://www.festival-cannes.com/en/films/heojil-kyolshim

 

Uploaded by https://www.youtube.com/c/theupcomingmagazine/

Spoiler

 

 

 

© 2022 CJ ENM Co., Ltd., MOHO FILM. ALL RIGHTS RESERVED / DECISION TO LEAVE

 

CREDITS

PARK Chan-Wook - Director
PARK Chan-Wook - Script / Dialogue
CHUNG Seo-Kyung - Script / Dialogue
KIM Ji-Yong - Cinematography
RYU Seong-Hie - Set decorator
CHO Young-Wuk - Music
KIM Suk-Won - Sound
KIM Sang-Bum - Film Editor

CASTING
PARK Hae-Il - Chang Hae-joon 
TANG Wei - Song Seo-rae

PHOTOS

Spoiler

 

 

DECISION TO LEAVE © 2022 CJ ENM Co., Ltd., MOHO FILM. ALL RIGHTS RESERVED

 

CONTACTS

Spoiler

Production
MOHO FILM - 2807, Office Bldg, Kintex-ro 240, Ilsanseo-gu 10391 GOYANG SOUTH KOREA - T: 82 2 3675 4430 - moho@moho.co.kr 

Distribution
BAC FILMS - T: 33 (0)1 80 49 10 00 - www.bacfilms.com 
- contact@bacfilms.fr

 

French press
LE PUBLIC SYSTÈME CINÉMA - T: 33 (0)1 41 34 20 33 - www.lepublicsystemecinema.fr 
Alexis DELAGE-TORIEL - adelagetoriel@lepublicsystemecinema.fr

 

International press
LE PUBLIC SYSTÈME CINÉMA - T: 33 (0)1 41 34 20 33 - www.lepublicsystemecinema.fr 
Alexis DELAGE-TORIEL - adelagetoriel@lepublicsystemecinema.fr

 

International sales
CJ ENM - T: 82 1 062 674 805 - http://www.cjenm.com 
- juhee.yi@cj.net

 

[Helena]

On 5/9/2022 at 2:31 PM, Helena said:

https://www.festival-cannes.com/en/films/heojil-kyolshim

IN COMPETITION - FEATURE FILMS
HEOJIL KYOLSHIM
(DECISION TO LEAVE)
Directed by : PARK Chan-Wook
Year of production : 2022 | Country : SOUTH KOREA | Length : 138 minutes

 

ENGLISH PRESS KIT
https://cdn-media.festival-cannes.com/film_film/0002/75/19467cc6015c6b4875f2f59b9db8753c4ec48fb7.pdf

Spoiler

 

Page 5 of 13

DIRECTOR

Screenwriter/Director | PARK Chan-wook

“ DECISION TO LEAVE is a film for adults.
Rather than tell the story of loss as something tragic, I tried to express it with subtlety, elegance and humor, in a manner that speaks to adults. ”

After establishing himself as a leading Korean director in the year 2000 with his popularly and critically acclaimed feature JOINT SECURITY AREA, PARK Chan-wook became celebrated as a global auteur with OLDBOY (2003), winner of the Grand Prix at the 57th Cannes Film Festival.

In the years since, he has continued to receive worldwide acclaim with films such as SYMPATHY FOR LADY VENGEANCE (2005); THIRST (2009), which won the Jury Prize at the 62nd Cannes Film Festival; STOKER (2013), his Hollywood debut; and THE HANDMAIDEN (2016), which not only screened in competition at the 69th Cannes Film Festival, but also won the Best Film Not in the English Language at the 71st BAFTA. From his first TV series THE LITTLE DRUMMER GIRL which screened on the BBC, to his collaboration with Apple on the short film LIFE IS BUT A DREAM, director PARK Chan-wook has constructed a unique cinematic world with his taboo-breaking storytelling, fascinating characters and sensual visuals.

Now he returns with his first feature film in six years, DECISION TO LEAVE. A blend of investigative drama, romance and unexpected humor, DECISION TO LEAVE eschews the shocking breaking of taboos in his previous work for a deep drama in which subtle emotional tremors coexist with pulsating inner waves. Director PARK says, “My goal in DECISION TO LEAVE was to create a film that subtly and imperceptibly pulls the audience in and captures their interest.” Audiences around the world are sure to be captivated by PARK Chan-wook’s depiction of the densely-layered emotions that build up between these two characters.

Selected Filmography
The Little Drummer Girl (2018, TV series), director
The Handmaiden (2016), producer/screenwriter/director 
Snowpiercer (2013), producer
Stoker (2013), director
Thirst (2009), screenwriter/director
I’m a Cyborg, but That’s OK (2006), screenwriter/director 
Sympathy for Lady Vengeance (2005), screenwriter/director 
Oldboy (2003), screenwriter/director
Sympathy for Mr. Vengeance (2002), screenwriter/director 
Joint Security Area (JSA) (2000), screenwriter/director
and many more...

 

Page 7 of 13

INTERVIEW WITH DIRECTOR PARK CHAN-WOOK

 

Q. What was the process of developing DECISION TO LEAVE?

It started from a conversation in London with screenwriter CHUNG Seo-kyung, who I’ve collaborated with on many films. Before that, there were two bits of source material in my mind. The first is a Korean song ‘The Mist’ composed by LEE Bong- jo, which I have loved since I was young, and which I only knew as a recording by Ms. CHUNG Hoon-hee. But later I found out that Twin Folio had also recorded that song, and after listening to it, I fell in love with it. And I thought to myself, how about making a film with the voice of CHUNG Hoon-hee, as well as another version of the song with the voice of SONG Chang-sik? Naturally, I thought that it should be a romance film set in a misty town. Second, I wanted to make a film featuring a detective character with a personality that I like, similar to my favorite police character Martin BECK from the Swedish detective novel series. I wanted to see a detective who was gentle, quiet, clean, polite and kind. The two stories merged into one through a conversation with screenwriter CHUNG Seo-kyung, and gradually took shape.

Q. What is the meaning of the title DECISION TO LEAVE?

 

When they say, “I don’t think things will work out between us,” they decide to break up. But when they express their intention in this resolute way, from an outside perspective it doesn’t feel very convincing. They may want and agree to separate, but given that deep inside their hearts they don’t really want to part, it’s a title that suggests they won’t be able to leave each other.

Q. As you were directing this film, what were the new elements you considered?

 

If my previous films were intense, made with the goal of providing a very stimulating experience, DECISION TO LEAVE is a film that subtly and imperceptibly pulls the audience in and captures their interest. So there’s not much violence, nudity or sexual content. However, I wanted to depict these complicated emotions that any human, and any adult, can empathize with.

Q. What were the reasons behind the casting of TANG Wei and PARK Hae-il?

 

CHUNG Seo-kyung said it would be good if the female lead was Chinese, so that we might be able to cast TANG Wei. Sure enough, I’ve wanted to work with her ever since watching LUST, CAUTION, and more than anything, we thought she would be convincing as the character that CHUNG Seo-kyung and I wanted to create. And I thought that TANG Wei and PARK Hae-il would make for a fascinating combination.

I’ve known PARK Hae-il for so long that it seemed as if I must have shot one or two films with him. But I realized one day that I had never made a film with him. In the film, Hae-joon is exceptionally gentle, neat and polite and has eccentric humor. No other actor but PARK Hae-il came to mind for that character. In that sense the script was almost custom tailored to him, and although the “Hae” in “Hae-joon” represents the sea, it also brings to mind PARK Hae-il.

Q. What kind of people are Seo-rae and Hae-joon to each other?

 

To Seo-rae, who has always thought of herself as being unhappy, Hae-joon is like a precious gift. She must have been taken with surprise to think, “Someone like him really does care for me.” For Hae-joon, Seo-rae is like the waves on the sea. Sometimes she is calm, sometimes violent, sometimes overwhelming. Sometimes she wraps you in her embrace, but it’s always changeable.

Q. What do you hope viewers will take away from DECISION TO LEAVE?

 

DECISION TO LEAVE is a story for adults. It’s a love story, and also a detective drama. But what I really want to emphasize is that it’s a story about loss, that any adults will be able to relate to. Rather than treat it as a solid tragedy, I tried to express it with subtlety, elegance and humor.
 

[Helena]

https://koreajoongangdaily.joins.com/2022/05/12/entertainment/movies/Broker-Decision-to-Leave-Cannes/20220512151004209.html
Cannes premiere dates for two Korean films unveiled

BY LEE JAE-LIM [lee.jaelim@joongang.co.kr] | May 12, 2022

 

Poster for ″Decision to Leave,″ left, and ″Broker″ [CJ ENM]

Schedules for the world premieres of two Korean films invited to this year’s Cannes Film Festival were revealed Thursday.

According to CJ ENM, which oversees distribution of both films, Park Chan-wook’s “Decision to Leave” will have its world premiere at Cannes at 6 p.m. on May 23. The filmmaker and lead actors Park Hae-il and Tang Wei will head to Cannes for the red carpet premiere and the global press event on May 24. 

The film centers around a police detective who finds himself attracted to a mysterious widow after she becomes the prime suspect in his latest murder investigation.

“Broker,” a Korean-language film directed by Japanese filmmaker Hirokazu Kore-eda, will premiere at 7 p.m. on May 26. Kore-eda and lead actors Song Kang-ho, Gang Dong-won, Lee Ji-eun and Lee Joo-young will participate in the press event on May 27.

“Broker” follows 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. 

The 75th edition of Cannes will run from May 17 to 28.

 

—

 

https://thefilmstage.com/our-20-most-anticipated-2022-cannes-film-festival-premieres/
Our 20 Most-Anticipated 2022 Cannes Film Festival Premieres

 

 

At long last, Cannes returns to its proper May slot. With the event kicking off next week, running from the 17th through the 28th, much cinematic greatness awaits.

Ahead of the festivities we’ve rounded up what we’re most looking forward to—and while we’re sure many surprises await, per every year, one will find twenty films that should already be on your radar. Check out our picks below and be sure to subscribe to our daily newsletter for the latest updates from the festival.

 

8. Broker (Hirokazu Kore-eda)

Spoiler

One of the major titles of the 2022 lineup is from Hirokazu Koreeda, who last visited the festival with Shoplifters and took home the Palme d’Or. Broker, which is his first South Korean project features the all-star cast of Song Kang-ho (Parasite), Bae Doona (Cloud Atlas, The Host), Kang Dong-won (Train to Busan Presents: Peninsula), and the popular artist IU aka Lee Ji-eun. Shot by cinematographer Hong Kyung-pyo (Parasite, Burning) the film centers on baby boxes, in which parents who aren’t able to provide for their babies anonymously give them. – Jordan R.

 

3. Decision to Leave (Park Chan-wook)

Marking Park Chan-wook’s first feature since 2016’s The Handmaiden, anticipation is sky high for his melodrama mystery Decision to Leave. Led by Tang Wei (Lust, Caution, Blackhat) and Park Hae-il (The Host, Memories of Murder), it follows a detective investigating a man’s death who begins to develop feelings for the widow. With cinematography from Ji-yong Kim (The Age of Shadows, A Bittersweet Life), we expect a stylish, twist-filled adventure. – Jordan R.