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February 9, 2017

Berlin: South Korean Political Thriller 'Master' Sells to Multiple Territories

by Lee Hyo-won THR

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Courtesy of CJ ENTERTAINMENT

CJ Entertainment also strikes a slew of deals for 'Confidential Assignment' and 'Fabricated City.'

South Korean giant CJ Entertainment has unveiled a slew of deals as the European Film Market in Berlin kicked off Thursday.

The deals come under the leadership of newly appointed head of sales and distribution Yoonhee Choi.

Master, starring The Magnificent Seven star Lee Byung-hun, has sold to China (Lemon Tree), Japan (Twin), Taiwan (Movie Cloud), Hong Kong, Macau (Deltamac), Singapore, Malaysia (Clover Films), Australia and New Zealand (JBG Pictures), Turkey (Medyavizyon), the Philippines (Viva Communications), Mongolia (Bloomsbury), India (VR Films & Studios), Italy (Minerva) and Thailand (M Pictures).

CJ is directly distributing the film in North America (CJ Entertainment America), Vietnam (CJ E&M Vietnam) and Indonesia (CJ Entertainment & OKTN), while in-flight rights have been sold to Emphasis.

Directed by Cho Ui-seok (Cold Eyes), the film is about a politically well-connected con man abusing his power. Master topped the South Korean box office for two weeks in December and has earned $50.6 million overall. It is among a string of politically charged films hitting local screens amid nationwide anti-presidential protests.

Among CJ’s new titles in Berlin, Confidential Assignment, has been pre-sold to Taiwan (Movie Cloud), Hong Kong and Macau (Deltamac), the Middle East (Gulf Film), the Philippines (Viva Communications), Australia & New Zealand (JBG Pictures), India (VR Films & Studios), Mongolia (Bloomsbury), North America (CJ Entertainment America), Vietnam (CJ E&M Vietnam) and Indonesia (CJ Entertainment & OKTN). In-flight rights for the Kim Sung-hoon film about a North Korean spy were picked up by Emphasis.

And Fabricated City, another CJ title making its market debut at EFM, was pre-sold to Taiwan (Long Shong), Hong Kong, Macau (Deltamac), India (VR Films & Studios), the Philippines (Viva Communications), Mongolia (Bloomsbury), Australia, New Zealand (JBG Pictures), Italy (Minerva), North America (CJ Entertainment America), Vietnam (CJ E&M Vietnam) and Indonesia (CJ Entertainment & OKTN).

The film, about a young man who receives the help of fellow virtual game players when he is framed for murder, is director Park Kwang-hyun's long-awaited follow-up to the 2005 hit Korean War drama Welcome to Dongmakgol.

In addition, CJ’s Vietnam co-production Saigon Bodyguard has sold to Japan (Gaga), India (VR Films & Studios), Australia & New Zealand (JBG Pictures) and North America (CJ Entertainment America). The action-comedy was a box-office hit in December in Vietnam, where VSTV has pay TV rights.

It was helmed by Japanese director Ken Ochiai and produced by Canada’s multiple award winning Niv Fichman (Enemy, Hobo with a Shotgun) and Sweden’s Kim Ly in association with CJ. Ly also stars in the film.

Said Tom Yoda, CEO and chairman of Japan's Gaga, about the film: "Although the current Japanese market for foreign films is very tough, we are very pleased to introduce Saigon Bodyguards to our audience as a hugely successful film in Vietnam."

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February 13, 2017

Thrillers and Action-Comedies Sell for CJ ahead of Berlin
One of the Biggest Korean Studios Unveils EFM Slate

by Pierce Conran / KoBiz

A quartet of thrillers are leading the sales slate for Korean major CJ Entertainment at the European Film Market in Berlin. Recent chart toppers Master, Confidential Assignment and Fabricated City in Korea and Saigon Bodyguards in Vietnam each stacked up healthy sales even before business got underway at the market.

CHO Ui-seok’s crime thriller Master, starring LEE Byung-hun (Inside Men, 2015), GANG Dong-won (The Priests, 2015) and KIM Woo-bin (Twenty, 2015) scored deals with Twin (Japan), Viva Communications (the Philippines), VR Films & Studios (India), Lemon Tree (China), Bloomsbury (Mongolia), Minerva (Italy), M Pictures (Thailand), Movie Cloud (Taiwan), Medyavizyon (Turkey), Clover Films (Malaysia and Singapore), Deltamac (HK and Macau), JGB Pictures (Australia and New Zealand) and Emphasis (in-flight rights). The film was the top draw in Korea over the end of year period in 2016, with ticket sales topping USD 50 million.

Moving on to the biggest Korean hit over the Lunar New Year holiday period earlier this year (with sales currently over USD 48 million), KIM Sung-hoon’s North Korea-themed spy action-comedy Confidential Assignment was also a strong seller, once again racking up deals with Movie Cloud, Deltamac JBG Pictures, Bloomsbury, VR Films & Studios, Viva Communications and Emphasis, as well as Gulf Film for the Middle East.

Current chart topper Fabricated City, PARK Kwang-hyun’s long-awaited Welcome To Dongmakgol (2005) follow-up, about a gamer who is framed for murder and goes on the run with help from his friends, also presold to Deltamac, VR Films & Studios, Viva Communications, Bloomsbury, JBG Pictures and Minerva, as well as Long Shong for Taiwan.

CJ’s latest locally produced success story for Vietnam, the action comedy Saigon Bodyguards, was another strong seller for the distributor. Directed by Japan’s OCHIAI Ken, the film topped to box office in Vietnam in December and has now sold to Gaga Communications for Japan, as well as VR Films & Studio and JBG Pictures.

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The intro for CINE21 photo-shoot feat. MA$TER.. a bit different compared to the other cover intros. :lol: 

Published on February 16, 2017 by 씨네 21

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An article on actress Jin Kyung though it doesn't mention MA$TER.

 

February 18, 2017

Jin Kyung Took the Slow Route to Stardom

Source: The Chosun Ilbo

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Since 2013, the films of actress Jin Kyung appeared have drawn a whopping 38.75 million viewers, more than those of superstars Son Ye-jin, Kim Hye-soo, Ha Ji-won, Jun Ji-hyun and Jeon Do-yeon.

This may be because she has played small parts in many films including "Veteran" and "Assassination," which drew more than 100 million viewers in 2015, but it is still quite an achievement given her rather late blossoming.

"I was always a bit late," she says. She quit the first two universities she went to to find the best place to study acting, making her stage debut at the age of 26 and spending 14 years in the theater.

It was only in 2012 at the age of 40 that she started to become more widely known with the TV hit soap "My Husband Got a Family."

Despite her slow start, Jin wanted to be an actress since high school.

"The stress and fierce competition within the education system made me an introvert. I struggled a lot internally, but I couldn't find a way to let my frustrations out," she recalls.

Then she saw a performance of an acting club that her older sister was part of. "The feelings that the actors were letting out under intense lighting were electrifying," she says.

She thought she could find some inner peace through acting. She quit her first university, Hankuk University of Foreign Studies, after just four days, then spent two years studying acting at Dongguk University but quit and entered the Korea National University of Arts.

Finishing university did not open up a bright future, "For 14 years, I was like a floating weed looking for work. People call that a difficult period of obscurity, but I liked it. The joy that I felt on stage was so precious to me," she said.

What was difficult was the long "resting" times, which she bridged by teaching aspiring actors. But there were problems. "It was impossible to survive by just being on stage. I wanted some financial rewards," she says.

So she moved from stage to films and TV, becoming a rookie again. She started as a bit player and did as many films and TV series as she could. In the last five years, she has appeared in 19 soaps and 13 films, and in this prolific period she became one of the most impressive scene stealers.

"I was grateful to have a constant stream of projects, so I worked without any break. Now I'm spent, so I want to take a break and think about what I need to do to become a better actor."

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February 23, 2017

Review: Master (2016)

Posted by Elizabeth Kerr Heroic Cinema

From: South Korea
Directed by: Cho Ui-seok
Cast: GANG Dong-won, Jin Gyeong, Kim Woo-bin, Lee Byung-hun, Oh Dal-su, UHM Ji-Won

Not available in Australia on DVD (to our knowledge)

It’s a sign of the times: the financial thriller is officially a thing. It wasn’t so long ago that thrillers were dominated by communist infiltrators or spies, old fashioned corrupt cops, bank robbers, and garden-variety psycho killers. But as chatter of wealth inequality gets louder, globalisation continues to fail and the one percent closes ranks, the Big Bad du jour is increasingly the Wall Street banker or multinational CEO. As a ‘genre’, the financial thriller has been around in book form for some time; perhaps due to its inherently literary nature. After all, when the hero busts the bad guy, it’s because he/she did a lot of reading. But since the banking clusterfuck of 2008, the money monsters have really come to the fore. Aside from countless television series episodes and documentaries, the list includes (the criminally under-seen) Margin Call, Oscar-nominee The Big Short, Too Big to Fail for HBO, Arbitrage and even (one of 2016’s best) Hell or High Water as just some of the American entries. In Asia-Pacific, there’s been The Attorney, Inside Men, and Veteran from South Korea — all enormous popular hits — and Life Without Principle from Hong Kong (arguably the world’s last bastion of shameless money-grubbing).

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Mama Kim (Jin Kyung, centre) counts her pennies

Admittedly the Korean contributions to the burgeoning genre frequently conflate finance and politics, which is actually very telling of what Koreans tend to think of their captains of industry and elected officials. Nonetheless, the recent scandal involving impeached president Park Geun-hye makes audiences ripe for a movie like the workmanlike Cho Ui-seok’s Master. In it, Lee Byung-hun is Jin Hyun-pil, the Bernie Madoff/Steve Jobs-esque leader of the shady One Network, an ill-defined investment racket that’s put him in the crosshairs of fraud investigator Kim Jae-myung (Gang Dong-won, A Violent Prosecutor) and his partner Gemma Shin (Uhm Ji-won). When the cops finally convince One’s software engineer Park Jang-geun (model/starlet Kim Woo-bin, The Con Artists) to talk about the organisation, it turns out Jin is a step ahead, double-crosses his double crosser, and hightails it out of Korea with US$3 billion in investor money.

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President Jin (Lee Byung-hun) greets his adoring masses

The bulk of the film is a standard cat-and-mouse game, but less so between Kim and Jin as between Kim and Park, and it starts off well enough. Gang is his usual, reasonably dull self (though he’s given little to do by director Cho and co-writer Kim Hyun-duk), but Kim is engaging as the constantly conspiring mastermind, always looking for his own escape hatch by playing both sides. He’s nimble enough to keep us guessing as to which way he’s going to go, but this is a Korean film, so the flawed hero must have his redemption.

The fundamental appeal of Master is easy to see: everyone loves to watch slimy con artists — the kind that play with working class people’s life savings — get theirs, and its even better when the cons are as attractive and having as much fun as Lee clearly is. Master also boasts the frisson of currency. When Jin snarks, “Do you know anyone that’s gone to prison for this?” at Kim in the last act, there’s something depressingly spot on in the comment, and which nearly takes the film into the wish fulfilment realm. Jin is a scumbag in part because he knows he’ll never face any consequences for his actions.

Unfortunately what Master doesn’t have is a sense of direction and an editor with a keenly developed sense of when enough is enough. Cho (Cold Eyes) and Kim have buried a solid, 100-minute thriller beneath a lot of dross, but by the same token haven’t bothered to fill the bloated run time with anything resembling exploration of a world that places such lopsided emphasis on wealth, consumer complacency in their own financial ruin (these guys take advantage of people because there are people they can take advantage of) and the legal and industrial infrastructure that allows Jin and his ilk to proliferate. Korean cinema of late has taken its banks, politicians, judges, police and corporations to task for their corruption, cronyism and rigidity (see: The Attorney) but for Cho, that’s not as interesting, evidently, as a flight to the Philippines and a final sting operation. They’ve also dangled two compelling female characters — cop Shin and Park nemesis, the over-protective Mama Kim as interpreted by Jin Gyeong (Assassination) — and dropped them both by the wayside. That’s a shame, as Mama Kim’s simmering mistrust of Park brings a charmingly cantankerous crackle to the whole thing, and by the time the equally cranky Shin gets a chance to actually do some policing the film is over. None of those flaws, however, have prevented Master from catapulting onto all-time box office triumph lists (currently in Korea’s top 40). There’s a lot to be said for an angry marketplace.

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Investigator Kim (Gang Dong-won) decides it’s time to get serious

But Uhm and Jin’s fates are to be expected given Master’s by-the-numbers cops and robbers machismo, and its status as a vehicle for Gang and Lee. Once again, Lee, most recently seen as the knife-wielding sidekick in Antoine Fuqua’s The Magnificent Seven, turns in the kind of grand, post-pretty boy phase performance that’s given him a mid-career renaissance in Korea (blackmail scandals be damned) as well as a touch of Hollywood cache. He’s well cast as a grifter that leans on his charm (watching him fleece an ambitious Manila politico is hilarious), which Lee has oodles of. It’s a shame his latest money-in-the-bank performance is trapped inside a mediocre film that had the potential to be a Korean Wolf of Wall Street.

6 stacks of ill-gotten cash out of 10.

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March 2, 2017 

Master (2016) Review

by Paul Bramhall City on Fire

Director: Jo Eui-seok
Writer: Jo Eui-seok, Kim Hyun-duk
Cast: Lee Byung-hun, Gang Dong-won, Kim Woo-bin, Uhm Ji-won, Oh Dal-su, Jin Kyung, Monsour Del Rosario, Jung Won-jung, Yoo Yeon-soo, Jo Hyun-chul, Paek Hae-soo

The Korean film industry rounded out 2016 with yet another thriller concerning those in positions of authority abusing their power. This time based on the true story of a CEO who defrauded his sales staff in order to line his own pockets, it’s a story that plugs directly into the sentiments that many Koreans are feeling towards those in authority during recent times. While some viewers are likely starting to feel fatigued at the recurring theme that’s been present throughout the year, these productions are arguably more entertaining than the overly patriotic epics like The Admiral: Roaring Currents and Northern Limit Line from a couple of years prior.

On the surface, Master bears a striking resemblance to a production which was released just a year earlier, in the form of Woo Min-ho’s Inside Men. Both focus on a trio of male characters and their allegiances with each other, and both feature Lee Byung-hun as one of the characters in question. Byung-hun has had a busy 2016, with roles both in Hollywood productions Misconduct and The Magnificent Seven, as well as on local soil with Master, and Kim Ji-woon’s return to Korean filmmaking in Age of Shadows. Here Byung-hun plays the CEO in question, the leader of a pyramid scheme company called One Network. Replacing Jo Seung-woo and Baek Yoon-sik as his co-stars are Gang Dong-won and Kim Woo-bin.

Dong-won has had almost as busy a year as Byung-hun, with major roles in the horror movie The Priests and crime caper A Violent Prosecutor. For Master he purposefully beefed up for the role, with his broad shouldered appearance reflecting a marked difference from his usual slight frame. Playing a committed anti-corruption investigator, to draw a comparison to The Good, The Bad, and the Ugly Weird, Dong-won is the good to Byung-hun’s the bad. That leaves the ugly weird, which has Woo-bin playing a young IT expert who’s been helping Byung-hun to launder the money, while also planning to skim off the top. Woo-bin has made a steady transition from predominantly starring in TV dramas, to featuring more on the big screen. Cutting his teeth as the main character in Friend 2, which was followed up with a role in the breezy crime caper The Con Artists, Master is definitely his meatiest role to date.

At the helm is director Jo Eui-seok, also responsible for the script, who was last seen directing the Korean remake of the Hong Kong movie Eye in the Sky, with 2013’s Cold Eyes. What’s perhaps most interesting about Master is that, despite Byung-hun and Dong-won clocking in the most years of experience, it’s Woo-bin’s compromised IT expert that proves to be the most interesting focal point of the movie. His expertise in staying off the radar clearly not matching that of his IT skills, he’s pulled in by Dong-won’s investigator, and strikes a deal to help them take down Byung-hun in order to avoid jail time. Forced to be a mole within Byung-hun’s organization, his constantly shifting allegiances, and willingness to do anything to save his own skin, come together to make him the most conflicted character of the trio.

This is however, also most likely due to Byung-hun and Dong-won’s characters being somewhat underwritten. Byung-hun fares the best, his natural charisma able to make roles even in misfires like Memories of the Sword at least watchable. As the CEO he portrays the role almost like that of a cult leader, addressing his thousands of employees in flashy seminar halls and shedding fake tears of gratitude, he’s blindly followed based largely on the cult of personality which he’s built around himself. Dong-won’s unwavering investigator is the dullest of the trio, given little personality beyond his desire to take down Byung-hun, and despite being dedicated to the role, the fact he has little to work with in terms of the script is at times a little too apparent.

Master essentially feels like two movies in one. The first half is set in Korea, and involves plenty of setup and plot development as proceedings build to a raid on Byung-hun’s home, with the intention of seizing a ledger containing the names of those in power who he’s been paying off. However he ultimately gets away, escaping with both the ledger and $3 billion, and sets sail for Manila in the Philippines. After a climatic car chase and fight between Dong-won and a masked assailant in a tunnel, he’s ultimately left high and dry with no more evidence than what he began with, while Woo-bin is marked as both a traitor to One Network and ends up on the receiving end of a blade.

It’s only when the pair get wind of Byung-hun’s whereabouts that they decide to team up in order to redeem themselves, and get the bad guy once and for all. This basically sees proceedings hit reset, as everyone packs up and heads to Manila for a second crack at taking down Byung-hun and his cohorts, and the remainder of the movie is set for the most part in the Filipino capital. While most other reviews for Master will skim past this point, it’s worth noting that the Filipino senator that Byung-hun’s CEO attempts to woo while in Manila, is played by none other than Monsour Del Rosario. Yes, the same Monsour Del Rosario from such 90’s action movies as Ultracop 2000, Techno Warriors, and Bloodfist 2. Since those days of appearing in action cheapies, Del Rosario has become (at the time of writing) the congressman for a district of Manila, so can kind of be viewed as playing himself.

The change in locale certainly plays a big part in keeping things from appearing too repetitive, with the slums of Manila acting as a sharp contrast to the extravagant life Byung-hun was living in Seoul. His pitch perfect Filipino accented English is also a plus, which he learnt specifically for the role, and makes his attempts to swindle Del Rosario into coughing up billions of dollars for a proposed eco-city, which he has no plans to ever build, all the more entertaining. It’s a credit to both the script, and Byung-hun’s acting, that the switch to English never glaringly stands out as it did in similar efforts such as The Berlin File, with some lines even being quote worthy. At one point Byung-hun quips “Senator, let the children play on the grass, and not in the trash.” A line which delivers the intended comedic effect.

It’s perhaps indicative of the script as a whole that we get to spend the most time with the villain, and indeed at times even feel endeared to him. However Master can’t quite escape from the fact that it’s very much a talk-heavy movie, while seeming to strive to be something more action orientated. The action quota is in fact minimal, and while the initial Seoul based climax in the tunnel is a brief but suitably tense confrontation, a final shoot out on the streets of Manila almost feels shoe horned in, and doesn’t feel natural for the characters to be partaking in. The same criticism can be applied to the final scene as a whole, as Eui-seok seems determined to allow proceedings to end with a bang, despite the majority of what’s come before not really being indicative of such a tone.

Indeed the epic runtime of 143 minutes doesn’t seem entirely justified. But thankfully Master coasts along on the stellar performances from its trio of leading men and supporting cast, which includes Jin Kyeong (who also featured in Eui-seok’s previous movie Cold Eyes) as Byung-hun’s business associate, Eom Ji-won as Dong-won’s partner, and the ever-present Oh Dal-soo. However with some additional trimming and the inclusion of a couple more action scenes, it’s easy to feel that underneath all of the talking and scenes of planning, there’s a much leaner movie that could have come to fruition. As it is, Master stands its ground as a middle-of-the-road thriller, bolstered by a high budget and A-grade actors who make it appear to be more. It’s a sleight of hand that Byung-hun’s character would be proud of.

Paul Bramhall’s Rating: 7/10

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It was such a fun and entertaining movie with a stellar cast and amazing acting...Loved the chemistry between Kim Woo Bin and Kang Dong Won while Lee Byung Hun really made a nasty villian...For sure i would love to see them play again as sidekicks...The movie had few twists that make it even more enjoyable to watch...

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April 7, 2017

53rd Baeksang Arts Awards Nomination:  Movie Category

Source: Naver

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The 53rd Baeksang Arts Awards has released the nomination list for this year's award ceremony to be held at the COEX D Hall, Gangnam-gu, Seoul, on May 3 (5:00 pm).

MOVIE Category (Source: Kkuljaem)

Best Movie 

The Wailing  

The Age of Shadows 

Train to Busan

The Handmaiden

Asura

Best Director 

Kim Sung Soo (Asura)

Kim Ji Woon (The Age of Shadows) 

Na Hong Jin (The Wailing) 

Park Chan Wook (The Handmaiden),

Hong Sang Soo (On the Beach at Night Alone)

Best New Director

Yeon Sang Ho (Train to Busan)

Yoon Ga Eun (The World of Us)

Lee Yo Seob (The Queen of Crime)

Lee Joo Young (A Single Rider)

Lee Hyun Joo (Our Love Story) 

Best Actor 

Kwak Do Won (The Wailing)

Song Kang Ho (The Age of Shadows)

Yoo Hae Jin (Luck Key)

Lee Byung Hun (Master)

Ha Jung Woo (Tunnel)

Best Actress

Kim Min Hee (The Handmaiden) 

Kim Hye Soo (Familyhood)

Son Ye Jin (The Last Princess) 

Yoon Yeo Jung (The Bacchus Lady)

Han Ye Ri (Worst Woman)

Best Supporting Actor 

Kim Eui Sung (Train to Busan)

Ma Dong Seok (Train to Busan)

Bae Sung Woo (The King)

Eom Tae Gu (The Age of Shadows) 

Jo Jin Woong (The Handmaiden)

Best Supporting Actress

Kim So Jin (The King)

Ra Mi Ran (The Last Princess)

Bae Doo Na (Tunnel)

Chun Woo Hee (The Wailing)

Han Ji Min (The Age of Shadows)

Best New Actor 

Do Kyungsoo (Brother)

Ryu Jun Yeol (The King)

Woo Do Hwan (Master)

Ji Chang Wook (Fabricated City)

Han Jae Young (New Trial)

Best New Actress

Kim Tae Ri (The Handmaiden)

Kim Hwan Hee (The Wailing)

Yoona (Confidential Assignment)

Lee Sang Hee (Our Love Story),

Choi Soo In (The World of Us)

Best Screenplay

The Wailing (Na Hong Jin)

The Age of Shadows (Lee Ji Min /Park Jong Dae)

The Handmaiden (Park Chan Wook/Jung Seo Jung)

Asura (Kim Sung Soo)

The World of Us (Yoon Ga Yoon) 
 

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Fan vote at Hancinema.net, just for fun -- doesn't affect the actual Baeksang Awards user posted image

April 10, 2017

53rd Baeksang Arts Awards 2017 - Movies : Nominees List

Source: ISplus via Hancinema.net (VOTE page)

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53rd Baeksang Arts Awards 2017 will be held on May, 3 2017, here are the nominees for movies.

Please note that your vote on HanCinema is not taken into account

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April 10, 2017

53rd Baeksang Arts Awards 2017 : Most Popular Actor in a Movie Nominees List

Source: ISplus via Hancinema.net (Fan VOTE page)

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53nd Baeksang Arts Awards 2017 : most popular actor in a movie nominees list.

Current results on the 53nd Baeksang Arts Awards 2017 Awards website.

To vote use the Android and iOS 2017 Baeksang Arts Awards apps (Search for "BaekSang Arts Awards"). You can vote until April 28, Midnight Korean time.

"New Trial" - Kang Ha-neul

"The Wailing" - Kwak Do-won

Pandora - Kim Nam-gil

"Master" - Kim Woo-bin

"My Annoying Brother" - Doh Kyung-soo

"The King" - Ryu Jun-yeol

"Train to Busan" - Ma Dong-seok

"The King" - Bae Seong-woo

"The Age of Shadows" - Song Kang-ho

"Tunnel" - Ha Jung-woo

"Confidential Assignment" - Hyeon Bin

"A Stray Goat" - Jinyoung

"Seondal: The Man Who Sells the River" - Xiumin

"Luck.Key" - Yoo Hae-jin

"Master" - Lee Byung-hun

"New Trial" - Jung Woo

"The King" - Jung Woo-sung

"The King" - Jo In-Seong

"Fabricated City" - Ji Chang-wook

"The Wailing" - Hwang Jeong-min

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April 18, 2017

19th Far East Film Festival Invites 14 from Korea
Bounty of Commercial Korean Fare in Udine This Spring

by Pierce Conran / KoBiz / FEFF19

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The 19th edition of the Udine Far East Film Festival returns in Italy from April 21st this year. As usual a broad selection of titles from Korea will be screened for local audiences with a total of 14 Korean films featuring in the program until the festival’s close on April 29th.

Among the international premieres in Italy this year will be KIM Sung-hoon’s North Korea-themed action-comedy Confidential Assignment, gamer thriller Fabricated City, with director PARK Kwang-hyun in attendance, LEE Seong-tae’s indie youth thriller Derailed, LIM Dae-woong’s haunted house thriller House of the Disappeared, action-thriller Master, with director CHO Ui-seok in attendance, legal drama New Trial, which will be supported in Udine by director KIM Tae-yun and producers PARK Daniel and YOON Ki-ho, and bowling drama SPLIT, with director CHOI Kook-hee joining the festival.

CHANG’s drama Canola and KIM Jong-hyun’s women’s ice hockey drama RUN OFF will both have their European premieres in town. Also screening will be HUR Jin-ho’s period melodrama The Last Princess, and three more titles with directors present: LEE Soo-yeon’s serial killer thriller Bluebeard, NA Hyun’s crime drama The Prison, and UM Tae-hwa’s fantasy drama VANISHING TIME: A BOY WHO RETURNED.

Finally, screening out of competition will be HAN Sun-hee’s documentary Old Days, which examines the production of PARK Chan-wook’s 2003 classic Old Boy. 

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April 28, 2017

[Upcoming DVD Release] Korean Movie "Master"

Source: Hancinema.net

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Korean movie "Master" is available to preorder on a limited DVD edition with English subtitles from YESASIA.

2 DVDs First Pressed Limited Edition with 3 Posters in Tube

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Order from YESASIA

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2 DVDs First Pressed Limited Edition

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Order from YESASIA

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May 3, 2017

Gang Dong-won apologizes over great-grandfather's controversial past

SEOUL, May 3 (Yonhap) -- South Korean actor Gang Dong-won apologized Wednesday over revelations his great-grandfather was a member of pro-Japanese forces during Tokyo's colonial occupation of Korea.

The 36-year-old offered the apology after a screening of his crime-action film "Master" in Jeonju, 243 kilometers south of Seoul, where the Jeonju International Film Festival is under way, according to festival organizers.

Speaking to the audience, he said he did not have the opportunity to personally apologize since the controversy over his great-grandfather broke earlier this year.

"I will reflect on and teach myself about the embarrassing history and truth," Gang said.

In February, a post on a film magazine's website claimed the actor was a descendant of pro-Japanese forces. After the post was shared on other websites, the actor's management agency requested it be hidden from view on online portals.

Gang issued an apology through his agency at the time, saying he had learned of his great-grandfather's "embarrassing past" and would teach himself about history and do what he can.

The colonial era is a sensitive issue in South Korea as many people still have bitter feelings toward Japan for its brutal rule from 1910-45.

Actor Gang Dong-won (Yonhap)

Actor Gang Dong-won (Yonhap)

hague@yna.co.kr

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Wishing a quick and complete recovery to Kim Woo Bin! user posted image

May 24, 2017

Actor Kim Woo-bin diagnosed with rare cancer, starts treatment

SEOUL, May 24 (Yonhap) -- South Korean actor Kim Woo-bin has been diagnosed with a rare form of cancer and has started treatment, his agency said Wednesday.

"While carrying out his schedules, Kim visited a hospital after sensing abnormalities in his body. He was later diagnosed with Nasopharyngeal cancer," said Sidus HQ, Kim's agency.

Nasopharyngeal cancer is a rare form of cancer that occurs in the upper part of the pharynx, located behind the nose and above the back of the throat.

Luckily the discovery of the cancer wasn't too late, and the actor has begun drug and radiation treatment.

The company is currently consulting with on-going productions in which Kim is involved to prioritize treatment.

"Until (Kim) returns healthy after treatment, we ask for your well wishes," Sidus HQ said.

The 27-year-old model-turned-actor enjoys massive popularity both at home and across Asia. He recently completed an Asian tour covering Macao, Japan, Chinese Taipei and Thailand.

He most recently appeared in the KBS TV soap series "Uncontrollably Fond" with Bae Suzy, and the Korean action film "Master" with Lee Byung-hun and Gang Dong-won.

In this file photo, actor Kim Woo-bin poses for an interview with Yonhap News Agency at a studio in Seoul on Dec. 19, 2014. (Yonhap)

In this file photo, actor Kim Woo-bin poses for an interview with Yonhap News Agency at a studio in Seoul on Dec. 19, 2014. (Yonhap)

odissy@yna.co.kr

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