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[Movie 2022] Emergency Declaration, 비상선언 - Song Kang Ho, Lee Byung Hun, Jeon Do Yeon


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‘Emergency Declaration’ Will Have the First Screening at the Cannes Film Festival

by krishkim


Emergency Declaration will have its first screening at the 74th Cannes Film Festival. And today, the first still photos of the characters were released.

Earlier, Emergency Declaration was officially invited to the out of competition section. The film will be unveiled to the public for the first time in the press screening on July 15th and premiere on July 16th. Along with director Han Jae Rim, actors Song Kang Ho, Lee Byung Hun, and Im Si Wan will step on the red carpet for the premiere.

The non-competitive section carefully selects and invites works with both artistic and commercial qualities. Earlier, Thierry Fremaux had praised Emergency Declaration as “the perfect genre film,” raising the expectations of movie fans.


Along with the news, Emergency Declaration released the official poster and still photos. The official poster showed an airplane flying but with the phrase “TAKE YOUR SEAT” upside down. The released still photos capture the expressive faces of various characters. What will they do in the face of urgent and chaotic situations?


Emergency Declaration is an aviation term meaning a state of emergency if planes can no longer operate normally by the captain’s judgment when faced with a disaster situation. As Korea’s first aviation disaster movie, Emergency Declaration will be screened around the world after the Cannes Film Festival.


Source: Showbox
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.

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Song Kang-ho, Lee Byung-hun among stars to join Cannes Film Festival



Jury member and Korean actor Song Kang-ho arrives at a cocktail reception for the Jury at the Martinez Hotel ahead of the 74th annual Cannes Film Festival, in Cannes, France, July 5. EPA-Yonhap


SEOUL, July 6 (Yonhap) -- Two South Korean actors will take the stage and two Korean feature films will be premiered at the 74th Cannes Film Festival that kicks off Tuesday for a 12-day run.

"Parasite" star Song Kang-ho will attend the festival as a member of the competition jury, presided over by U.S. filmmaker Spike Lee, along with other film heavyweights, including French actor Tahar Rahim and American actress and producer Maggie Gyllenhaal.  He is the fifth Korean to be a member of Cannes' jury, following director Shin Sang-ok in 1994, director Lee Chang-dong in 2009, actress Jeon Do-yeon in 2014 and director Park Chan-wook in 2017.  "Song Kang-ho played a key part in writing a remarkable page in Korean cinema's history," the festival said on its homepage, adding that the 54-year-old veteran contributed to the success of "Parasite," which won four Oscar titles, including best picture.

This photo provided by CJ Entertainment shows actor Song Kang-ho. (PHOTO NOT FOR SALE) (Yonhap)

Seasoned actor Lee Byung-hun will present an award at the closing ceremony on July 17. He will be the second Korean to appear as a presenter at the world's most coveted film festival following renowned director Park in 2017.  The 50-year-old actor previously attended the 88th Academy Awards as a presenter in 2016.

This photo provided by BH Entertainment shows actor Lee Byung-hun. (PHOTO NOT FOR SALE) (Yonhap)

The two actors will also hit the red carpet during the film festival as part of the cast of "Emergency Declaration," directed by Han Jae-rim, which was invited to Cannes' Out of Competition category.  But in the 74th edition of the fest that runs through July 17, no Korean films are competing for the Palme d'Or.  Along with "Emergency Declaration," Hong Sang-soo's "In Front of Your Face" was named in the new Cannes Premieres section that introduces the latest pieces of the world's renowned directors.  It is the first time in five years that Korean films failed to make an entry to Cannes' main competition, excluding last year when the festival was canceled.  Since Park Chan-wook's "The Handmaiden" in 2016, Bong Joon-ho's "Okja" (2017), Hong's "The Day After" (2017), Lee Chang-dong's "Burning" and Bong's "Parasite" (2019) were selected to vie for the Palme d'Or at Cannes. "Parasite" won the top prize that year.  

At this year's festival, 24 films, including the opener "Annette" by Leos Carax, "Red Rocket" by Sean Baker, "The French Dispatch" by Wes Anderson and "Drive My Car" by Ryusuke Hamaguchi, are listed in the main competition section.  

While its 2020 edition was canceled due to the COVID-19 pandemic, Cannes' organizers announced the list of its selections of 56 movies without prize winners last year. Two Korean movies -- Yeon Sang-ho's "Peninsula" and Im Sang-soo's "Heaven: To The Land of Happiness" -- were included.






Cannes Film Festival 2021: the Asian movies featured

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  • 2 weeks later...

July 14, 2021


Emergency Declaration section event schedule for Cannes 2021. 

July 15, 8:30 (15:30 KST)- Press preview scheduled 

July 16, 22:15 (05:15 KST on 17th)- Official screening. 



You can watch live on official YouTube channel of Cannes Film Festival: 


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July 16, 2021


Director Han Jae Rim, Song Kang Ho, Lee Byung Hun and Im Si Wan at the Photocall today for their movie Emergency Declaration. 





Here are some more pictures in the link
Full video of the Photocall. 

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Review | Cannes 2021: Emergency Declaration movie review – Song Kang-ho, Lee Byung-hun in slick but silly Korean air-disaster thriller


  • A bioterrorist incident aboard a US-bound airliner is the starting point for a movie that’s spectacularly shot but has a less than stellar script
  • Singer Im Si-wan impresses as the terrorist, but Lee Byung-hun as a doomed passenger and Song Kang-ho as a comedic cop can’t deliver a smooth landing

By James Mottram | 17 Jul, 2021


Song Kang-ho in a still from Emergency Declaration.

2.5/5 stars

At the beginning of this slick but silly South Korean air-disaster movie from director Han Jae-rim (The Face Reader), a caption explains that if a plane is in danger, a pilot issuing an “emergency declaration” to the authorities is like declaring martial law. This is all very well, but when your passenger aircraft is carrying a deadly virus the chances are you aren’t going to be landing anywhere.

Playing out of competition at this year’s Cannes Film Festival, Emergency Declaration starts very promisingly as a well-dressed young man (South Korean singer Im Si-wan, recently in the Netflix series Run On) is seen, gruesomely, smuggling a capsule into a wound in his armpit.

Once on board Sky Korea Flight 501, bound for Honolulu, he releases the canister in the toilet; the deadly virus causes itching, blisters and much worse.

It doesn’t take long for the other passengers to figure out what he’s done, sealing their doom by exposing them all to this toxin. On the ground, the police are alerted to his bioterrorism after he releases a video online promising to attack an aircraft.

“This is where it all ends,” he declares. Led by Sergeant Koo (Parasite star Song Kang-ho), the cops soon discover his apartment and his master plan.


While its 147-minute running time is too long, Emergency Declaration does have a Hollywood blockbuster quality to its set pieces.

A scene where the pilot collapses and the plane begins to plummet towards the ocean is brilliantly shot, with several luckless unbuckled passengers thrown around the economy cabin like rag dolls as the aircraft spins out of control.

After the plane is refused permission to land in American airspace, the US authorities dubbing it a “biochemical missile”, the aircraft is forced to turn around, a plot point that really does the film no favours.

On board, Koo’s wife is one of the endangered passengers, while a father (Lee Byung-hun) travelling with his child, who has eczema, has his own inner demons to face. But neither sub-plot adds much.

Lee Byung-hun in a still from Emergency Declaration.

The film also suffers from imbuing the law enforcers with a Keystone Cops quality that doesn’t help ratchet up the tension.

Im Si-wan is very watchable as the young terrorist – just the right amount of weird. But there isn’t enough of him in a film that comes in for a very bumpy landing.



SCREEN’s review got moved, will post when it’s back up.  Perhaps it will be more positive?

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Korean virus disaster flick has Cannes reaching for its masks



Yim Si-wan, from left, Lee Byung-hun, director Han Jae-rim, and Song Kang-ho pose for photographers upon arrival at the premiere of the film 'Emergency Declaration' at the 74th international film festival, Cannes, southern France, July 16. AP-Yonhap

Cannes was shaken Friday by a South Korean virus flick about a bio-terrorist attack on a passenger plane.

Eerily evocative of the ongoing COVID-19 pandemic, "Emergency Declaration" by director Han Jae-rim tells the story of a vengeful biochemist spreading a deadly mutant corona-like virus on an aircraft.

As passengers start dying messily, police on the ground scramble for solutions.

Critics at the thriller's first screening instinctively adjusted their masks ― which are mandatory during Cannes screenings ― as they watched the fictional, airborne virus spread death through the plane.

But while the actual coronavirus pandemic loomed large during the filming of "Emergency Declaration", it was never meant to be its theme. "It's not 'COVID-19, The Movie,'" director Han insisted.

"When we prepared for the movie, there was no COVID-19. We knew SARS, but nobody was talking about coronavirus," he told AFP.

"At one level, it's an action movie, I wanted to make it entertaining," he said. "But I also wanted to show how people react when they are confronted with a catastrophe."

Fast-paced action sequences and a tight storyline make the movie's 147 minutes fly by, with Han saying he aimed to make sure that "the situation is shown in a very realistic way" without sliding into panic-inducing "cliches".

For cabin scenes with the aircraft in tailspin, the crew built a rotating cylinder, with camera operators filming inside, strapped tight into rigs. "That is something that even Hollywood doesn't often do," Han said.

Many scenes are filmed with handheld cameras so "viewers get the full experience inside the plane, and are not just distant spectators," he added.

Humanity makes progress

Han goes further, exploring fear, cowardice and selfishness sparked by the virus crisis, but also bravery, solidarity and self-sacrifice.

"Some are cowards, some run away, but you can also see that, despite everything, humanity makes progress because there are always people with courage," Han said.

Filming, which took place entirely during the pandemic, was briefly interrupted in the summer of 2020 when there was a virus scare over one of the actors who was in contact with a positive case, but eventually tested negative.

"In the beginning I thought COVID-19 might help viewers to really immerse themselves in the film," lead actor Lee Byung-hun told AFP. But as the pandemic spread, he began to worry.

"When reality gets more powerful than fiction, the film's force can be diminished. But now I realize that any viewer with experience of COVID-19 can plunge into the movie even more intensely," Lee said.

Apart from Lee, a superstar in Korea but also in Hollywood thanks to "G.I. Joe: The Rise of Cobra" and "The Magnificent Seven", the film also features Jeon Do-yeon, who won the best actress award at Cannes in 2007.

Song Kang-ho, another famous Korean actor who sits on the festival's main jury this year, plays a police chief.

South Korea ― which won the last Palme d'Or in 2019 with Bong Joon-ho's "Parasite" ― has a booming film industry notorious for its hard-hitting thrillers and often gore-filled horror flicks.

"Emergency Declaration" premiered out of competition at Cannes, which closes on Saturday. (AFP)

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July 17, 2021 



17-07-2021 - 12:00 - By Aurélien Allin

From Han Jae-rim. Official Selection, Out of Competition.


Official Synopsis: In-ho, a seasoned police officer, receives the report of a video on an air terrorist threat. During his investigation, he understands that the suspect has already taken a seat on flight KI501. Despite his fear of flying, Jae-hyuk decides to go to Hawaii to treat his daughter. The presence of a man who prowls around him by uttering threats attracts his attention. On flight KI501 from Incheon to Hawaii, a passenger died unexplained. A feeling of panic and terror spreads to the plane and the ground. Upon hearing the news, the Minister of Territory and Transport set up an anti-terrorism crisis cell and organized an emergency meeting to find a solution to land the aircraft.


The resurgence of Steven Soderbergh's CONTAGION in VOD rental charts during the first confinement in 2020 made it strongly implied: COVID has forever changed our relationship with virus films. Seeing CONTAGION, ALERT!, PANDEMIC or even 28 DAYS LATER today no longer has the same meaning: from horrific entertainment to the attire of near-far SF, these stories now take on an unprecedented power, something terribly palpable. In this context, EMERGENCY DECLARATION, a South Korean blockbuster imagined nearly ten years ago, written before COVID and filmed during the pandemic. What, before, would have been just one more big banana immediately takes it to the pass. The introduction passes from character to character with talent, perfectly characterizes them in a few gestures and shots, especially thanks to the image that superstars like Song Kang-ho and Lee Byung-hun carry - one blue collar with which we immediately identify, the other more aristocratic and distant, more heroic, but just as touching. Han Jae-rim, director of the excellent THE KING, installs his stakes unequivocally, by the grace of a subtly worn camera, with long scrutinizing focal lengths, and a particularly neat aesthetic, using beautifully reflections, flares and veils instilling as much urgency as a certain strangeness. Once the dramaturgy is laid down and the tension built, EMERGENCY DECLARATION can quietly accelerate and impose itself as a large eight where strong images (a ballet of bodies wild in a plane literally went into spins) and energetic action sequences (a chase between a car and a scooter, filmed from the cockpit of the first one) multiply, without sacrificing the care taken in writing - the characters act with intelligence, logic and reflection, a rare in the genre. All in the service of a story that, as usual in South Korean cinema, has socio-political views. There, EMERGENCY DECLARATION detonates some of his companions, such as TUNNEL: if he finds traditional targets in the United States and Japan, he does not look at the South Korean authorities with mistrust, as if he had anticipated his country's fairly exemplary management of COVID. EMERGENCY DECLARATION prefers to make a statement about the responsibility of authorities, the individual and corporations for the common good. This point of view ensures the film a thematic and dramatic richness, leading the story to a few heights of emotion - up to a few sentimental impulses sometimes too exacerbated. Wanting to explore each track, EMERGENCY DECLARATION tends to pull slightly in length in its last third. But there, the energy of Song and Lee's flawless performances take over and once again recalls the vitality of the great South Korean popular cinema, at once performative, entertaining, thoughtful and in touch with the world. Everything that Hollywood franchise cinema is now struggling to embody.



From Han Jae-rim. With Song Kang-ho, Lee Byung-hun, Jeon Do-yeon, Yim Si-wan. South Korea. 2:27 a.m. Coming soon

Source: CinemaTeaser 

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Traduction anglaise de l'article écrit par Korean Cinema -   https://www.facebook.com/cinemacoreen



74è  Festival de Cannes  - Déclaration d'urgence
de HAN Jaerim 한재림 : article


Lorsque la  déclaration d'urgence  선언  par HAN Jaerim  secoue  la Croisette, il est les montagnes russes qui est au rendez-  vous pour vos émotions et les sensations fortes offertes par cette catastrophe film spectaculaire : un pari réussi sur un film qui est aussi divertissant que c'est techniquement créatif !

Sélectionné pour une projection à minuit au 74e Festival de Cannes, la première mondiale ce soir de ce film de genre s'annonce visionnaire à bien des plis depuis que la crise sanitaire du COVID-19 a frappé fin 2019, Cela résonnera d'autant plus dans l'imaginaire des spectateurs du grand Théâtre Lumière car ce festival s'est battu pendant plusieurs mois pour accueillir l'industrie du cinéma & les cinéphiles du monde entier, alors que la crise perdure.  La déclaration d'urgence est avant tout un projet qui a nécessité 6 mois de développement et de pré-production en 2019, juste avant la révélation de cette crise sanitaire sans précédent. Le réalisateur Han est aussi le scénariste & producteur, il a ainsi assuré à toutes ses équipes techniques & comédiens un storyboard le plus détaillé possible afin d'optimiser d'éventuels surcoûts de production &  être le plus efficace durant cette crise rendant tout compliqué, y comprend son tournage.  Il s'est basé sur une avant-première animée par la suite pour anticiper toutes les possibilités techniques du placement des acteurs & lumières, la conception des cascades, des astuces, des effets spéciaux & garantir la sécurité de ses employés & acteurs sur le plateau , c'est l'avantage d'une fiction dont on peut tout éditer en détail & contrôler tous les aspects, le résultat technique est très impressionnant sur grand écran.

Le confinement imposé, un territoire ludique ouvrant le champ des possibles émotionnels & techniques

Souffrant lui-même de la peur de voler, le réalisateur Han a nourri le personnage principal, Jaehyuk joué par LEE Byunghun  이병헌  , à partir de sa propre expérience personnelle.  La priorité du cinéma était de donner un maximum de réalisme à l'écran en s'appuyant sur une situation pourtant hors norme liant tous ses personnages, que ce soit dans les airs ou au sol, puis de faire incarner ces personnages par un casting solide offrant ses meilleures performances d'acteurs, vous immergeant ainsi avec conviction dans ce chaos au-delà de l'imaginaire, mais invitant à l'empathie qui peut ensuite nous faire reconnaître dans certaines attitudes et réactions.

Afin que le résultat soit frappant de crédibilité, toutes les équipes de plateau avec LEE Mokwon, photo avec LEE Mogae & PARK Jongchul, lumière avec LEE Sunghwan & effets/VFX avec notamment JUNG Doahn/KANG Jongik ont travaillé pour créer de bout en bout un véritable expérience de cinéma, immersive & sensorielle, délivrant un cocon des plus aboutis techniquement aux comédiens.  La gestion de l'espace clos de l'avion may RAPPELER la petite taille du train de verser Busan Dernier  부산행  de YEON Sangho
연상호 , et sur n'aurait pas la responsabilité civile d'y penser voiture LEE Mokwon un film de also à CE collaboré.  C'est un superbe exercice de cinéma car il combine parfaitement une pensée du cinéma et une technique de mise en œuvre. Le placement des caméras et leurs déplacements doivent prendre en compte l'horizontalité des mouvements dans les couloirs des cabines, le croisement des regards entre les sièges, le cloisonnement des classes éco & affaires, les espaces encore plus réduits des toilettes , les passagers savent qu'ils 'ils devront faire face à un confinement pendant une durée donnée, lorsque le confinement forcé suite à une attaque bioterroriste dérapé.  Les rares qui peinaient déjà à bien vivre un vol en avion donner l'occasion de jouer sur toute la palette de l'inquiétude, de la peur, de la panique puis de la terreur.  Les caméras sont mobiles,  au plus près des visages et de leurs expressions, ils révèlent peu à peu l'angoisse. Ce qui est assez marquant dans cette mise en scène, c'est de s'être laissé aller à un enchevêtrement de situations où tout est réactif : actions, émotions, réactions… pas de temps mort, tout s'enchaîne bien, le montage alterne les situations au sol avec celles aériennes, jusqu'à ce moment charnière de l'histoire, et cette brillante pensée du cinéma : un glissement de genre du thriller à la survie se produit lorsque le personnage RYU Jinseok avoue ses intentions bioterroristes lorsqu'il est immobilisé dans les quartiers du personnel navigant, mais aussi les images traînent nous plonge dans le tourbillon de l'avion n'ayant plus de commandant conscient à ses manettes, la machine part en vrille & nous suivons de l'intérieur le choc violent de ces rotations, une perte de contrôle des pédales et les marques des passagers se balançaient et se projetaient contre les murs et les sièges, comme s'ils avaient été dans le tambour d'une machine à laver en plein essorage.  On comprend mieux pourquoi Han a évoqué l'étape cruciale de l'avant-première animée afin de considérer et contrôler tous les risques lors de cette scène sensationnelle disant exactement le contraire.  Claustrophobe, abstention, ça ne va pas aller mieux…


Quand la fiction est supplantée par la réalité

Dans ce dernier long métrage on sent toute l'audace formelle que le réalisateur Han se permet en explorant un nouveau genre à porter à l'écran, il est sorti des sentiers battus après avoir été diplômé en 1998 du Seoul Institute of the Arts & arrivé avec GO Yoonhee 2ème de la compétition de scénario organisé par le Korean Film Council pour To Do or Not to Do en 2003, la future romcom explosive Rules of Dating  연애의  réalisé en 2005. Sa seule participation sortie en vidéo en France est le film de science-fiction Ville naturelle  내츄럴 시티  de MIN Byeongcheon  민병천  , en qu'assistant Tant en 2003. films réalisateur Ses Les plus Récents were Dans des festivals projetés, ne pas le roi  더 킹 par le Festival du film coréen à Paris en 2017 et sur Netflix pour The Face Reader 관상  en 2013 ou sa production de The Exclusive: Beat the Devil's Tattoo  특종  :  량첸살인기  de Roh Deok  노덕  en 2015. SONG Kangho  송강호  (Parasite  기생충  , Snowpiercer  설국열차  , Memories of Murder  살인의 추억  ) & KIM Sojin  김소진  (The Spy Gone North  공작  , The Terror Live  더 테러 라이브  ) sont des habitués, mais dès l'écriture du scénario d'Emergency declaration, Han avait imaginé LEE Byunghun  이병헌  (The President's Man  남산의 부장들  , JSA - Joint Security Area  공동경비 구역JSA) dans le rôle de Jaehyuk en père se résignant à déménager à Hawaï afin d'offrir à sa fille une vie plus sereine, Han avait depuis longtemps envie de tourner avec lui & l'incontournable JEON Doyeon  전도연  (Lucky strike  strike 잡고 싶은 짐승 들  , Untold Scandal  스캔들  -  조선남녀상열지사  ) & le jeune acteur IM Siwan  임시완  (découvert dans Sans pitié  불한당  :  나쁜 놈들의 세상 ) sur coulée ce rejoint. Le réalisateur Han avait conquis ses acteurs avec cette histoire qu'ils croyaient inimaginable dans la vraie vie, propre à la fiction pure que l'on pourrait effectivement transposer au cinéma, mais peu de temps après avoir accepté de jouer dans ce film, tous ont comprend que la réalité les rattrapait. .  Ce sont des comédiens conscients qui apportent à ce film catastrophique toute la profondeur dramatique qu'on ne s'attend pas forcément à voir dans un film de cette dimension commerciale.  Le jeune biochimiste RYU Jinseok (IM Siwan) décide d'une attaque biologique en propageant dans le vol KI501 de South Korea Airlines un virus aéroporté grâce au système de climatisation de l'avion. Avant d'essayer de monter dans le vol avec le plus de passagers à tuer, il avait posté une vidéo mettant en garde contre son crime,  afin qu'au terme d'une enquête efficace le capitaine de police Koo (SONG Kangho) retrouve son identité & trace afin d'éviter l'irréparable.  Se mêlant aux autres, Ryu est repéré par Jaehyuk (LEE Byunghun) & se méfie, ses soupçons s'avèrent fondés après que Ryu se soit approché à plusieurs reprises de sa fille, dont la fille lui fait partie de ses remarques alarmantes.  Petit à petit, la tension monte d'un cran lorsque Koo comprend que sa femme partie en vacances est dans le même avion que Ryu. C'est une course contre la montre qui commence alors que le virus révèle ses secrets : c'est une forme de COVID importée du Moyen-Orient par une multinationale américaine sans scrupules & qui a été modifiée par Ryu pour une variante avec une létalité plus grande et plus rapide.  Face à ce nouveau danger, l'inconnu prend le pas sur la raison &  la mise en scène met en évidence cet état de confusion & d'angoisse : manque de masques, de médicaments, de bouteilles d'oxygène pour les passagers de l' avion, contamination galopante, dissensions entre passagers… tout cela a désormais une impression de déjà vu/vécu.  Nos comédiens s'affairent à vivre cette palette de sentiments & ce gouffre à la lumière de cette année écoulée est tout simplement vertigineux. 

Bien sûr cette ne sera pas passée inaperçue pour la création : les arts se sont emparés de notre actualité et nous aurons de nombreuses fictions et documentaires à venir traitant de la crise sanitaire, Avec Emergency declaration c'est avec une avance soudaine que Han examiner l'âme humaine, prix dans le tourbillon d'une peur primordiale, l'instinct, seules valeurs bienveillantes qui peuvent nous sauver des décisions prises.


De l'impuissance triomphera la volonté

Chaque personnage joué par nos stars sont des contrepoids/points avec des mouvements de panique ou des opinions effrayées, éprouvant eux-mêmes cette terreur, ils essaient de l'apprivoiser chacun à leur manière & de s'en servir pour s'en sortir, En effet la caractérisation par Han le permet de trouver dans sa narration des leviers dramatiques.  Sur le terrain le Capitaine Koo est un policier expérimenté & pugnace, il se battra pour sauver sa femme, comme Sookhee le Ministre du Territoire, des Infrastructures & des transports qui fera tout son possible pour trouver une solution satisfaisante entre les directives des autorités & les besoins des ses concitoyens, dans l'avion Jaehyuk de son côté aidé par le personnel navigant va tout pour sauver sa fille et les passagers,

Ce qui est très singulier dans l'écriture de ce récit devant tous les autres films coréens perçus comme « nationalistes » mettant en avant l'honneur de sauver les Coréens contre les (ex)colonisateurs, c'est la mise en évidence des clivages entre les Coréens eux-mêmes. C'est récemment avec Parasite de BONG Joonho ente les deux familles de serviteurs rivaux, ici on s'arrache au-delà de la lutte des classes.  Il ne s'agit pas seulement de désigner les États-Unis et le Japon comme de sombres lâches, mais la division reçue au sein de la péninsule, la nation, les familles… chacun pour soi peut-il sauver la nation, soi-même , sa dignité ?

Une autre résonance avec d'autres récits de catastrophes (La Tour  타워  , Haeundae  해운대  , Tunnel  터널… ), la responsabilité des autorités, dans le sens qu'elles peuvent faire pour aider et servir la société ?  Han insiste sur le fait qu'il n'est pas nécessaire de pointer la culpabilité individuelle car ces catastrophes sont souvent survenues sans raison précise. D' part, il ya une autre volonté de rappeler que les autorités sont là pour garantir le bien-être et la sécurité des citoyens, ce qui n'avait pas été le cas avec le naufrage du ferry Sewol le 16/04/2016 , au cours de leur près ils avaient volontairement laissé périr de 300 personnes devant la stupeur des familles qui n'avaient pas travaillé témoin du port ou vu leurs enfants au téléphone se noyer... Une scène de l'avion en déclaration d'urgence rappelle ces conversations de victimes terrorisées à l'idée de mourir de façon imminente,  l'évocation de ce souvenir qui a traumatisé la nation est terrifiante.  Pour conjurer ce sortilège fatal, puis comme une lueur d'espoir à l'image de tous ces SMS reçus sur les smartphones qui illuminent & illuminent la cabine plongée dans l'obscurité angoissante, le cinéaste souhaite plus que nous envoyons un message de réconfort. ces temps difficiles, la peur peut diviser une société entre anti-masques/vaccins ou exclusion/inclusion des patients atteints de COVID… pourtant l'empathie & la solidarité peuvent nous faire face à de nombreuses épreuves sans nous diviser, quelle que soit notre nationalité, classe, statut, religion … la crise réelle et actuelle est la détresse mondiale et universelle.  C'est l'humanité restante qui nous aide à concevoir la diversité des relations au monde de l'autre, et surtout ensemble, ici, maintenant, 

Déclaration d'urgence est un film qui pourrait laisser certains sceptiques avec ce mille feuilles d'aventures dramaturgiques allant crescendo, mais n'est pas certain de reconnaître la sincérité des intentions du réalisateur, ainsi que les scènes d'action qui séduiront les spectateurs de la Croisette & gérer un distributeur permettant au public de découvrir sur grand écran une fiction époustouflante & bouleversante donnant du courage dans cette dure réalité…

Projection de presse du 15/07/2021 du Festival de Cannes

Certains éléments ne peuvent être dévoilés dans cet article à cause des spoilers que cela aurait dû & doivent rester secrets à la demande de la production


HAN Jae-rim  한재림

1998 Diplômé @ Institut des Arts de Séoul

2003 Natural City  내츄럴 시티  de Min Byeong-Cheon  민병천  (assistant réalisateur) 

2003 To Do or Not to Do (future Rules of Dating  연애의 목적  ) avec GO Yoon-hee 2ème au concours de scénario KOFIC 

2005 Règles des Rencontres  연애의 목적  (réalisateur & scénariste) 

2006 The Show Must Go on  우아한 세계  (réalisateur & scénariste) 

2010 production Woojoo Film  우주필름

2013 Couple très Roh de Deok ordinaire  노덕  (producer) 

2013 The Face Reader  관상  (réalisateur) 

2015 L'Exclusif : Beat the Devil's Tattoo  특종  :  량첸살인기  par Roh Deok  노덕  (producteur) 

2016 Le Roi  더 킹  (réalisateur, scénariste & producteur) 

Déclaration d'urgence 2020  비상선언  (réalisateur, scénariste & producteur

74e Cannes Film Festival- Emergency declaration: interview with filmmaker HAN Jae-rim & actor LEE Byung-hun



Korean Cinema: _ Gentlemen Han & Lee, congratulations first of all for this film offering an excellent immersive cinema experience! Mr. Han, you suffer from the phobia of flying: every trip seems a nightmare for you, so it wasn’t too painful a birthday present to spend it on the plane to come to the Cannes Film Festival?

Han JaeRim: (Laughter) _ It was Mr. Lee who spent his birthday on the plane (12/07), I had already arrived in Cannes, so I didn’t fly on my birthday (14/07), by the way! ' (Laughter) & so it wasn’t a nightmare, but I do have a phobia of flying, and that’s one of the reasons I made this movie. Now when I fly, I feel so much like I’m on the set of my movie that I’m not really afraid anymore…

CC _ And so, we would also like to wish Mr. Lee a happy birthday, late but in person!

Lee ByungHun: _ Thank you! (smile)

CC _ With Emergency declaration, your 5th feature film as a director, we feel your mastery of writing, we remember that you were noticed with the help of KOFIC for To Do or Not to Do with GO Yoonhee in 2003. Since the health crisis of COVID19, this film thus seems visionary in its premonitory description: when reality exceeds fiction, what did you then feel during the filming of the film?

HJR _ After I wrote the script, I went back to prep the movie, and in fact COVID-19 appeared just before that shoot. Of course, since disasters are never announced in advance, it is true that I was very surprised because the situation we were starting to live in was similar to my scenario. So I was both surprised and worried. But at the same time, as my film shows, all human beings can win, and above all overcome all the difficulties that fall on them.

CC _ Would you still have used animated previewing during pre-production without this health crisis because of your perfectionist nature in order to master all aspects of setting-upin-scene, as a way to complete the total control of the creation when there was already a very detailed storyboard?

HJR _ The film has a lot of computer graphics, we also used the gimbal, there were a lot of technical mechanisms that we used during the shooting, So at first for this type of film a very detailed storyboard is necessary & mandatory, it is a sine qua non condition, otherwise we would end up with a shooting that could last for months, it would extend its duration as much as its budget. The storyboard has been refined 3 times, which made me think a lot about the situation: in Korea, I don’t know if it’s the same here, when we have a lot of computer graphics, generally all productions use animated previewing in a second time.

CC _ You have done preliminary and meticulous work with the set teams (LEE Mokwon), photo (LEE Mogae & PARK Jongchul), light (LEE Sunghwan) & effects/VFX (JUNG Doahn/KANG Jongik) to achieve an optimal level of realism: Let’s take the example of a plan to dissect your intentions of m.e.s: literally and figuratively, there is a shift in the story with the character of RYU Jinseok (IM Si-wan) revealing his terrorist motives & the overturning of the freewheeling aircraft. Can you tell us how the collaborative work went in order to achieve this successful result?

HJR _ The plane is an enclosed space from which it is impossible to escape & I was wondering what could really reinforce this feeling of terror, so since cinema is a visual art, I wanted a very strong visual effect on the viewer, and it is at this time-where the dramaturgy changes: at first it looks like a thriller, then little by little it becomes a survival, the struggle for the survival of the passengers, it was this visual symbolism that I wanted to achieve.

CC _ In a relatively short filmography, you have held positions of responsibility, including that of executive producer/producer, including your Woojoo Film structure since 2010. The budgets that are injected into the films you deal with are consistent, it’s a great deal of results at the box office, but it gives youIs it also this freedom to choose your casting in particular & to imagine at once who will play your characters on the screen when writing the script?

HJR _ As much as a producer as a director, one is a bit stressed or tense, there is a kind of weight that weighs different depending on whether one is a director or producer, especially when it comes to commercial films but with a creative requirement, we must not make only concessions... For me, as I had already worked with the actor SONG Kang-ho, I knew him personally, so it was easier to access for this new project, while Mr. Lee no & I already wanted to work with him for a long time, so that when I wrote the script it was first of all him to whom I had thought, when I submitted it to him, I was very lucky that he agreed to be there & to be available, for in such cases the only thing to do is to pray for the actors to say yes & be there to tour with you.

CC _ The characterization of the characters makes it possible to imagine, in particular that of JEON Doyeon (the Minister of Territory, Infrastructure & Transport) that there were lessons learned from the sinking of the Sewol in 2016, with regard to disaster management: The authorities must now do everything in their power to save the citizens. Has this real catastrophe inspired you directly to empower the authorities & especially to restore confidence in them through your fiction?

HJR _ I would rather say that the world in general is victim of various disasters: for example in Las Vegas there were shootings. I wanted more to show that they fall on us anywhere & whenever, it is a universal subject because there is no reason to justify their nature and yet we always try to find one. I wanted to tell a story about these people facing the unexpected. 

CC _ Your priority in staging is to focus attention on the feelings expressed by your performers & to be felt by your audience: let’s move on to your relationship with Mr. LEE Byunghun among us. Mr. Han, your collaborations with Mr. Song date The Show Must Go on in 2006, as with Ms. KIM Sojin in The King in 2016 & have since been renewed, as well as working for the first time with JEON Doyeon, LEE Byunghun & IM Siwan: how did it go with them whether or not they are familiar with your methods & direction of actors?

HJR _ All the actors you have mentioned have truly exceptional careers. Beyond the consequent work of the script & storyboard, these actors have far exceeded my expectations, it has given incredible scenes that I did not even imagine. Working with them, I felt much more comfortable & I really had a kind of confidence, so I was more relaxed to lead them.

CC _ Mr.Lee, can you share with us what you liked about the script, what you felt when you read it, what motivated you to accept the role & how you approached your own character?

LBH _ I liked this scenario, and all the scenarii that I like & motivate me have this fun interest in wanting to be in it, in the experiential sense: the concept of immersion in this film was total, my character Jaehyuk suffers from panic disorders in airplanes, And I suffer from it, too. Until this project, I had never had the opportunity to play this disorder, so it was this curiosity that led me to accept the role in order to know if I could recreate this feeling of terror and then overcome it, but the first motivation was that the scenario was exciting.

CC _ Mr. Lee, everything was extremely precise upstream, during the shooting how did you envision your body & your (dis)-investments in the defined space so reflected by the teams? Did you suggest experiences, reactions, movements to reinforce the realism of the situation in which Jaehyuk was? Did improvisation also have a place in your game?

LBH _ The director like me, we suffer from this fear of the plane, we shared this lived experience, so much so that he knew more than anyone the reactions that this Jaehyuk had to have. Each time, we wondered when a person is facing a problem x, how he would react, what his first thought would be… there was no need to explain by words, we both knew very well what this character could feel. I wished to express this fear through my body on the set.

CC _ Mr. Lee, you play a figure of responsibility in this film, for you when you accept a role, beyond having the pleasure of playing characters that you will never be in real life, you weigh the impact that it could have on the audience, his emotional commitment to him?

LBH _ The film shows different aspects in human beings facing extreme situations & everyone reacts in their own way, but Jaehyuk deciding to undertake this journey with his daughter faces death with this phobia of the plane, This is why he does everything to overcome this fear, and it can generate a sense of solidarity & empathy for the audience.

CC _ We end this interview with questions chosen from the www.cinemacoreen.fr audience : Anne-Lyse knows that filming was complicated because of COVID-19 and that it was interrupted for 2 weeks, did not this interruption stop the flow of filming? The actors, even if she does not doubt their professionalism, did they not find it difficult to resume the thread of the script? For LEE Byunghun: she knows you are an ad-lib fan (the best known being the Mojito in the Maldives), did you have the opportunity to make some in Emergency declaration?

HJR _ This interruption in filming is indeed true, but not because of COVID-19 directly, in fact it was not stopped because of the contact case which was later found to be negative, but because we were all  shocked and surprised by this possibility because it was the very beginning of the health crisis, so we all wanted to pause to pay even more attention: prevention & vigilance had to be at their maximum for the safety of the teams.

LBH _ During filming, we are so focused on its interpretation that we do not think about the virus 24/7, we manage to forget it for a short time. In this movie there were actors to play & the whole technical team, so we were very numerous on the set, and once we became aware of what COVID-19 is, when we shot in the interiors of the plane scenes, there was a kind of intrinsic fear that arose, but once the engine is launched, we use it, we no longer have a choice: we are there to play, express emotions & we overcome this fear. (recall ad-libs: laughs) I am not at all an actor who likes improvisation & ad-lib, I go there even by walking on? ufs because I’m afraid it will change the intent of the film, so I try not to get too far away from the didascalies of the script, but if the director tells me that I’m on the right track, I go on! For mojito, a lot of people liked it, which made me do it, but I’m not an actor who likes it!

CC _ thank you Messrs Han & Lee for this precious time with you, we wish you a beautiful world premiere tomorrow night at the great Theatre Light & a lot of success with this film!

HJR & LBH _ thank you!


Interview from 15/07/2021 at the Cannes Film Festival.

Photo credit Olivier Vigerie

Thanks to Yejin KIM for the translation, as well as to Pauline Vilbert & Gustave Shaïmi of the Public System

Contrary to our usual video interview, only the Korean media were allowed to film during the 74th Cannes Film Festival

Moreover, some answers in this interview could not be kept because of the spoilers that this would have led to & to remain secret at the request of the production





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‘Emergency Declaration’: Cannes Review


Drama on a plane from Seoul to Honolulu as a deadly virus is unleashed


Dir/scr: Han Jae-Rim. South Korea. 2021. 147 mins

There are times when it’s impossible to review a film without revealing anything about the plot – despite requests from the film’s producers to keep a lid on the storyline. This is one of those cases. The fifth feature by Korean director Han Jae-rim is a disaster thriller about a lethal virus outbreak – on a plane. Everything about how the film is viewed ­– including whether it gets a viewing at all – will derive from this fact.

One of the film’s main obstacles is how we have all become amateur epidemiologists of late

Han wrote the script well before the current global pandemic, although shooting started in 2020 under lockdown conditions. Whether audiences see this as prescient or foolhardy will depend a lot individual experiences of this last 18 months, and how much they are prepared to suppress both unease and exasperation in order to enjoy what is – leaving questions of timing aside – an overlong, cliché-ridden example of the disaster genre. Alongside the film’s newsworthiness, the presence of Parasite star and Cannes Jury member Song Kang-ho makes it an easy Out of Competition selection for the festival – but its ongoing future outside South Korea is less than certain.

One of the film’s main obstacles is how we have all become amateur epidemiologists of late. When bioterrorist Jin-seok (Yim Si-wan) spreads a deadly virus via an inhaler on a flight from Seoul to Honolulu and the first victim is dead within hours, that seems reasonable enough. Fulminant strains do exist. When a forensic police officer identifies a virus in a few minutes at a crime scene – it seems less likely, although possible. But when the battered and bruised police sergeant played by Song strides into a high-security biotechnology lab though a flimsy plastic screen door and manages to get himself injected first with this speedy virus, and then with an even speedier anti-viral drug, then suspended disbelief throws in the towel.

On other fronts, Emergency Declaration ticks all the boxes of its chosen genre without adding much that’s new. One of the passengers, Jae-hyuk (Lee Byung-hun), is, naturally, a former pilot who gave up flying years before when he made a brave emergency landing, saving all but two stewardesses – one of whom, was, naturally, the wife of the co-pilot on the current flight. The wife of Song’s district policeman character In-ho is also on board – something that apparently gives him access-all-areas superpowers when it comes to attending meetings of the crisis committee chaired by Transport Minister Sook-hee (Jeon Do-yeon).

Han’s script makes some attempt to get around the problem of how to vary the monotone of characters in a confined space looking terrified for two hours by cutting frequently to the scene back on the ground in Seoul, which at least gives the viewer more time with the ever-watchable Song (and also gifts us the film’s best and most original moment – a car chase filmed entirely through the windscreen of the vehicle in pursuit). In the course of what is in reality a nine hour, 20 minute flight, shady biotech corps are confronted, suspects caught, anxious relatives bused around, and demonstrations mounted by fearful citizens, who had enough spare time to make themselves some very impressive placards.

If there’s one element in Emergency Declaration that saves it from feeling like the wrong film at the wrong time, it’s the way in which the passengers on the plane become a microcosm of society at large as they are forced to make their own decisions about whether or not to isolate infected passengers, to look out for number one or help others, and whether to collectively make the ultimate sacrifice in order to save far more lives than the 121 people on Flight 501. This idea could have been taken somewhere intriguing – but the film remains as a series of sketches that are all but erased by the film’s trite and inauthentic ending.

Production companies: Showbox, Magnum9
International sales: Showbox Corp., sales@showbox.co.kr
Producers: Han Jae-rim, Back Chang-ju, Eum Zoo-young
Production design: Lee Mok-won
Editing: Han Jae-rim, Kim Woo-hyun, Lee Kang-il
Cinematography: Lee Mo-gae, Park Jong-chul
Music: Lee Byeong-woo
Main cast: Song Kang-ho, Lee Byung-hun, Jeon Do-yeon, Kim Nam-gil, Yim Si-wan, Kim So-jin, Park Hae-joon

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Song Kang Ho and Lee Byung Hun at the closing ceremony of 74th Cannes Film Festival today. Song Kang Ho as one of the jury and Lee Byung Hun presented the award for Best Actress. 

Finally Cannes official account updated their YouTube with our team’s red carpet video and Rang I video. 




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Korean presence felt at Cannes 2021

By Kim Hae-yeon | Jul 18, 2021

From left, actor Yim Si-wan, director Han Jae-rim, Lee Byung-hun, and Song Kang-ho pose for photographers upon arrival at the premiere of the film “Emergency Declaration” at the 74th Cannes Film Festival in southern France on July 16. (AFP-Yonhap)


Two years have passed since the 2019 film, “Parasite” won the Palme d’Or, the highest prize awarded at the Cannes Film Festival. Although Korean films were not among the 24 competing feature films at the festival’s 74th edition, the firm presence of the Korean cinematic scene was acknowledged by the appearance of its star directors and actors.

Director Bong Joon-ho proudly announced the opening of the festival on July 6, while actor Lee Byung-hun took the stage to close the festival’s 12-day run in the Grand Theatre Lumiere at the Palais des Festivals.

Bong, whose attendance festival organizers kept a secret until the very day, appeared as a surprise during the opening ceremony. Bong expressed the endless passion he felt toward great filmmakers and artists at the scene during his three-minute speech. 

“The festival had a break (due to the pandemic), but cinema has never halted. Cinema continues to advance, ever since the train started running in the Lumiere brothers’ film,” Bong said.


Two Korean films -- disaster-action film “Emergency Declaration,” directed by Han Jae-rim, and Hong Sang-soo’s drama film, “In Front of Your Face” -- were invited to the non-competition categories. 

Director Han Jae-rim arrives with actors Yim Si-wan (Left) and Lee Byung-hun (Center) for the screening of the film "Emergency Declaration" at the 74th Cannes Film Festival in southern France, on July 16. (AFP-Yonhap)


Han’s film about a bio-terrorist’s virus attack on a plane was made before COVID-19 hit the globe, but the audience clearly resonated with the piece under current circumstances. 

A round of applause broke out four times during the screening, and audience members gave a 10-minute standing ovation as the closing credits rolled. 

“I felt so happy to see the audience clap and enjoy the scenes,” director Han Jae-rim said excitedly after the premiere.

Song Kang-ho was the first Korean actor to participate as a jury member at the festival. With five women and four men from seven nations, this year’s jury marked one of the most diverse in the history of Cannes.

Lee Byung-hun, who took the stage with short greetings in French to the audience at the closing ceremony, continued his speech in English: “This year’s film festival is very special to me. Director Bong Joon-ho, who opened the film festival, and actor Song Kang-ho, the judge this year, are my colleagues, and Spike Lee, the chairman of the jury, has the same surname as me.” The witty comments made the audience and director Lee smile.

For the 24th Cinefondation Selection, a category dedicated to young student filmmakers, Yoon Dae-won’s short film “Cicada” won second prize, forecasting a bright future for Korean films to come.



By Kim Hae-yeon (hykim@heraldcorp.com)

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July 19, 2021.


"Emergency Landing" will be officially released in Taiwan at the end of this year. (A translation)




"Emergency Landing" will be screened on stage at the end of this year! Song Kang Ho,  Lee Byung Hun, and Im Si Wan  Shiwan set foot on the red carpet of the 74th Cannes Film Festival.


The film "Emergency Landing", which can be considered to have  the strongest cast of the year, was officially unveiled at the 74th Cannes Film Festival today. The director of the film, Han Jae Rim also led the main actors Song Kang Ho,  Lee Byung Hun, and Im Si Wan  Shiwan to Cannes to participate in the event. The four handsome men on the red carpet were quite eye-catching.


"Emergency Landing" is an aviation disaster movie. An aircraft that has encountered an unprecedented disaster must land anyway. The movie is directed by Han Jae Rim, who has directed “The Face Reader” and "The King” .  The gorgeous cast includes actors Song Kang Ho, Lee Byung Hun,  Jeon Do Yeon, Kim Nam Gil, Im Si Wan, Park Hae Joon.   Performing together, this has attracted much attention since the film preparatory period.




"Emergency Landing" was invited to participate in the Out of Competition category  of the 74th Cannes Film Festival. It is a work of both artistic and commercial nature. This time, "Emergency Landing" was called a "perfect theme film" by the executive committee of the film festival. Whether this work will be loved by audiences all over the world and has attracted much attention. The director led the three main actors on the red carpet to share the glorious moment with everyone.



Song Kang Ho appeared in a white top with a blue suit jacket. It was not a single tone but a pattern embellished the hem and cuffs. He looked very young and fancy. Lee Byung Hun chose to wear a suit close to dark khaki with a white shirt.  Im Si Wan Ren Shiwan is even more dressed up as a prince, wearing a white palace style puff sleeve shirt with a black vest instead of a suit jacket, which is quite formal and handsome.


   Reveal hidden contents

"Emergency Landing" will be officially released in Taiwan at the end of this year.


Source: koreastardaily.com:  https://www.koreastardaily.com/sc/news/136555

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‘Emergency Declaration’ Pulled Off a Successful World Premiere at Cannes Film Festival

by Eungee Joh | images: Showbox


Listed in Out of Competition at the 74th Cannes Film Festival, Emergency Declaration has pulled off a successful world premiere at the Lumiere Grand Theater on the night of July 16 (local time).

Emergency Declaration is an air-disaster film about a plane in danger making a forced landing in the face of an unprecedented disaster. The tickets for the media preview quickly sold out online, highlighting a booming interest.


Before the official screening, Song Kang Ho, Lee Byung Hun, Im Si Wan and director Han Jae Rim participated in red carpet events, including photocalls. And the team drew attention at the event as they engaged in a long conversation with the general delegate of the Cannes Film Festival, Thierry Frémaux, and deputy general delegate Christian Jun just before the photocall.

On the same night, Emergency Declaration held its official screening at the event. Attendees at the screening stated that the audience gave a big round of applause four times during the film and gave it a standing ovation that lasted about ten minutes. In regards to the enthusiasm, Director Han Jae Rim stated, “I was thrilled to see the audience clapping and enjoying the movie.” Lee Byung Hun added, “I’m honored and excited to have had this wonderful experience again.” And Im Si Wan said, “I was nervous while watching the movie. It was truly an honor to perform with such great actors. Thank you very much,” and shared their excitement at the Cannes Film Festival.


Meanwhile, Thierry Frémaux, the general delegate of the Cannes Film Festival, lavished praise on the new movie by saying, “It’s shockingly amazing! Spectacular!”

Source: Showbox

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The presence in Cannes of the Emergency Declaration team will remain in the memory of Korean film lovers and Lee Byung-hun’s Fans which is why I wanted to make a small compilation of the most important moments of this Festival.


Black and white retrospective Cannes festival 2021. My favorite moments.




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