Dir. Kim Ki Duk 김기덕

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September 30, 2016

Innocent fisherman gets caught up in ‘The Net’
Although he has lived his life catching fish, Nam suddenly becomes the fish caught between two strong nets.

Source: INSIDE Korea JoongAng Daily

“The Net” draws on a North Korean fisherman (Ryoo Seung-bum), who ironically becomes the fish that gets caught by strongly entwined nets (South and North). [NEW]

Unification has been a sensitive issue for both South and North Koreans since the outbreak of the Korean War in 1950. Although 66 years have passed, relations between the South and North still remains at odds. Especially among young people, enthusiasm towards unification has long faded. In fact, many find themselves shifting the entire responsibility toward the government. 

To remind those individuals who have grown numb to the separation and misery of Korea’s division, director Kim Ki-duk has come out with a new film, “The Net.”

“The tension between the South and North has become very extreme,” said the filmmaker at a press screening event on Wednesday. “Through the movie, I hope that we can look back on ourselves and realize how pitiful we [citizens] still are even after decades [since the armed conflict ended without a peace treaty].”

At the heart of the movie is a North Korean fisherman, Nam Chul-woo (Ryoo Seung-bum), in his 30s, who unwillingly defects to South Korea by crossing the borderline of the Imjin River [which bisects the Korean Peninsula and divides South and North on the west coast]. Although he has lived his life catching fish with nets, Nam suddenly becomes the fish caught between two strongly entwined nets - the authorities of the two countries. Upon reaching the South, the military suspects Nam of being a spy and even tries to frame him as such.

Nam undergoes a violent investigation by a team from the South because they believe that “sending Nam back to the despotic state” is morally wrong, and their mission is to “save as many people as possible from [the North’s] dictatorship.”

Nam, however, remains firm in his intention: to go back to the North, where his wife and daughter wait. Wishing for a safe return, Nam forces himself to not see even a glimpse of Seoul by shutting his eyes, as he fears he will “accidentally say something inappropriate when probed by the North’s authorities after his return.”

Although the story does not have many dramatic ups and downs over its 114 minutes, it clearly and painfully portrays the unwilling defector, who, after a miraculous return to the North, is once again unfairly treated by an investigator. 

It wasn’t easy for Ryoo to play such an emotional character. “While filming, I tried my best to understand the situations that Nam Chul-woo is going through,” said Ryoo, who couldn’t attend the press preview due to a scheduling conflict, through a press release. “And every scene was heartbreaking,” continued Ryoo. He added that he worked on the movie believing that Nam was real to make his acting more realistic and touching. 

The movie does not make any conclusions about which side is worse. The answer is not important for the filmmaker whose core message is “the brutality of ideology,” which may “potentially make anyone a victim.”

“The movie has luckily been rated 15 and over,” Kim said. “I hope that young people who will be leaders in the future will get to think about the division through the film, and one day come up with a solution.”

“The Net” is slated to open in local theaters on Oct. 6. 

BY JIN MIN-JI [jin.minji@joongang.co.kr]

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October 5, 2016

'The Net,' a tale of small fish caught in ideological net

By Park Jin-hai The Korea Times

"The Net" poster

Korean indie film virtuoso Kim Ki-duk returned to the big screen with a new psychological drama "The Net."

This time, Kim expanded into an ideology-swept society beyond focusing on human relations as he did in previous movies. The controversial director won international acclaim with the blunt depiction of violence and paradox in marginalized people's lives. His movies include "Pieta," a cruel story about a mother and a son and the family sex tragedy "Moebius."

Kim's 22nd movie and probably the most publicly friendly one tells the tale of a North Korean fisherman Nam Chul-woo, played by Ryoo Seung-beom, who accidentally drifts into South Korean waters.

Nam is interrogated by South Korean National Intelligence Service officials under the suspicions that he might be a North Korean spy. As suspicions are lifted, he is forced to become a defector

Nam keeps on saying that his only hope is to return to his family in the North, South Korean intelligence agents take him in the bustling tourist area Myeongdong to lure him with the affluence of capitalism.

With his desperation not to see anything in the South, he shuts his eyes all the way to the streets so that he has "nothing to tell" until he is forced to open his eyes.

Nam happens to see a teddy bear in the show window but the video footage of his outing was leaked to the media and wrapped up as praise for capitalism. Nam is now tormented that he might have jeopardized the lives of his family in the North.

When he finally makes his way home, his homeland was no different from the South. The North Korean officials put him under grueling interrogation, blacklisting him and finally depriving him of his livelihood as a fisherman. 

Caught in the big net of ideology, where the South brands the North as an authoritarian hell and the North accuses the South as rotten capitalism, Nam is a compared to a small fish in the movie struggling to escape from the net but gets critically damaged.

The film, which stands in line with the director's former works of "Poongsan" (2011) and "Red Family" (2013), is straight forward political symbolism, centering on three main characters, each of whom represents a specific generation's view on inter-Korean matters.

The senior NIS official is a staunch believer who thinks it is his duty to liberate Nam who has been brainwashed under the dictatorship; the mid-level official, whose father was a Korean War veteran, labels Nam as a potential spy punishes the communist out of personal revenge; and the youngest official empathizes with Nam and his desire to return to his home. 

Director Kim, whose late father was a wounded war veteran, said he made this film to reflect the sad reality of the two Koreas and raise awareness on inter-Korean issues.

"My father had suffered for a long time from the wound he sustained during the war. Personal antipathy toward the North influenced me to volunteer for the South Korean Navy. But I realized that personal rage cannot solve the issue," said the 55-year-old director during a recent interview with local media. "Now no one living today is free from the inter-Korean issue since many people accuse others for the reason. (Lost in the ideological fight), people lose direction and push themselves into more turmoil."

He says he made the film for the future generation. "When the generations that survived the Korean War passes away, I'm worried that the two Koreas (in a ceasefire armistice) could become separate countries or become reduced to a battle field for world superpowers. I wish through the film, we all, including the young generations in particular, should reflect on where we are and strive to find solutions," he said.

This thought provoking film, however, might feel a little mundane for Kim's devoted fans who expect smartly portrayed modernism and provocative vocalism in his movies.

"The Net" hits local theaters Thursday.

jinhai@ktimes.com

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October 13, 2016

‘The Net’ to open Tokyo FILMeX

A still from Kim Ki-duk’s latest film “The Net” (Next Entertainment World)

Art-house filmmaker Kim Ki-duk’s drama “The Net” is heading to Japan.

The 17th annual international film festival Tokyo FILMeX will be opening on Nov. 19 with Kim’s latest film, according to distribution company Next Entertainment World on Thursday. 

This is not Kim’s first time at the festival. Most recently, his 2014 thriller “One on One” was featured at the event, and his personal documentary “Arirang” received the Agnes B. Audience Award in 2011. 

Tokyo FILMeX, which has a heavy focus on Asian productions, will be presenting 33 feature films, including director Yoon Ga-eun’s “The World of Us” (2015) and Lee Hyun-ju’s “Our Love Story” (2015), a Grand Prize winner at this year’s Jeonju International Film Festival. 

Having made its world premiere at this year’s Venice International Film Festival in August, “The Net” has been a popular selection for various international film events, including the Hong Kong Asian Film Festival, Sao Paulo International Film Festival, Taipei Golden Horse Film Festival and others. 

Starring actors Ryoo Seung-beom, Lee Won-geun and Kim Young-min, the film centers around a North Korean fisherman, played by Ryoo, who accidentally drifts into South Korean territory, where he is interrogated by authorities who suspect him of espionage.

This year’s Tokyo FILMeX will close on Nov. 27.

“The Net” is currently playing in local theaters. 

By Kim Yu-young (ivykim@heraldcorp.com)

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November 18, 2016

KIM Ki-duk to Release STOP in December
Director Brings Prior Film to THE NET to Korean Screens

by Pierce Conran / KoBiz

Following the successful domestic release of his latest indie drama THE NET, which garnered almost 57,000 admissions in limited release following its premiere at the Venice International Film Festival in August, KIM Ki-duk will bow his previously completed film Stop in Korean theaters this December. According to production company a KIM KI-DUK film, in addition to cinema screens, the film will also bow on digital platforms next month.

Premiered at the Karlovy Vary International Film Festival last year, KIM’s 21st feature Stop was a low-key effort by the enfant terrible of Korean cinema, which was made entirely in Japan on a shoestring budget. 

Starring Japanese performers NAKAE Tsubasa, HORI Natsuko and TAKEDA Hiromitsu, Stop is a drama about a pregnant couple who live in the contaminated region of Fukushima, following its nuclear power plant meltdown, and worry about the effect that the fallout may have on their unborn child.

Director KIM has stated that the starring point of Stop came from his impressions of the aftermaths of the Chernobyl and Fukushima nuclear disasters and that he wanted to explore the fear surrounding radiation damage.

KIM is well known for his controversial films which have drawn acclaim from around the world, playing at umpteen festivals, but have traditionally struggled to find an audience back in Korea. The major exception to this was his 2012 feature Pieta, which won the Golden Lion at the Venice International Film Festival and edged past 600,000 viewers in Korea.

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December 14, 2016

[Interview] Kim Ki-duk wants to make honest movie

Kim Ki-duk seeks universality of human beings

By Kim Jae-heun The Korea Times

Movie director Kim Ki-duk / Courtesy of KIM KI DUK FILM

Kim Ki-duk is a Korean filmmaker though his movies are perhaps more popular abroad. His recently released the film, "Stop," that deals with the Fukushima nuclear accident of 2011. It was only seen by 241 viewers according to the Korean Film Commission as of Tuesday.

"Pandora," another Korean film based on a fictional scenario of a nuclear power plant explosion in Korea was seen by 1.78 million viewers as of the same day – running No. 1 at the local box office.

It is unfair to compare the tickets sold between the two movies as Kim's work is a low-budget film made with only 10 million won ($8,541) while 10 billion won ($8.5 million) has been invested in production of Pandora. Also, Stop is only available at one indie film house and online plus IPTV at homes when Pandora is screened nationwide.

However, Kim points out his philosophy in his movies as the major reason why his work receives more attention in other countries.

"Many foreign journalists ask me why my work is loved more abroad than it is in Korea," said Kim during his interview with The Korea Times at a cafe in Jongno, central Seoul, Tuesday. "I have to say maybe because my stories are based on the universality of human beings. I mean every nation revolves around its people, but we Koreans have stronger pride in ourselves as we are taught that we are superior to others. But if you travel around and see the world, every nation has its own uniqueness and I like putting that in my films.

"Most of the films that are popular in Korea are full of pride and reveal that we believe we are the best. But I am curious if we can maintain this as a real subjective value. My films are watched worldwide, in South America, Russia and China and I think it is because I delve into the universality of human beings in my stories," said Kim

During the last 20 years, Kim has directed 22 films, including "Pieta" that won the Golden Lion at the 69th Venice International Film Festival (VIFF) and "3-Iron," the Silver Lion for Best Director at the 61st VIFF. Kim's movies contain creepy and uncomfortable scenes unhesitatingly and try to be as realistic as possible to deliver his message.

The director says he plans his'- life in France, New York, Los Angeles and even in Almaty in Kazakhstan where he finds interesting materials for his next project.

Q. There is much material to choose from when you direct a disaster film. Why did you particularly choose Fukushima?

A. There are many disasters currently threatening us such as hurricanes, massive earth quakes and heavy snow storms. But the size of damage and the number of victims in the explosion of a nuclear power plant is something different. Radiation leaks are seen in our eyes as side effects and are not caught immediately. At the same time, some countries such as Korea and China are increasing the number of their nuclear power plants and many countries such as the United States depend on nuclear power. I wanted to stop this.

My movie does not limit its audience to Koreans but furthermore to global audience. That's why my story takes place in Japan and features Japanese actors.

 

Q. There are some unconvincing scenes in your movie Stop like the Japanese actor eating Korean cup noodles and his computer set in the Korean language.

A. Stop is a low-budget movie and there are mistakes as I had no art team to take care of the glitches. My previous films have some errors too but people say it's fine because they are works of Kim Ki-duk. Instead of focusing on small details and artwork, I concentrate on delivering the main message.

Q. What were the strengths in shooting a disaster movie alone?

A. Honestly, it was very difficult. I feel embarrassed to say it is a disaster movie. I first used computer graphics in the scene of the steel tower collapsing in Tokyo, but took it out later because it looked so unprofessional. So I decided to make this movie a drama. Instead of showing economic loss and nationwide damages visually, I had to show psychological change in person's mind as side effects of the radiation leaks from the explosion of a nuclear power plant. Perhaps changes in genre to go deep.

Q. What kind of feedbacks do you want to hear from the audience?

A. I was invited to a Japanese film festival in Yubari with Stop and talked to the local audience. They knew my film is low-budget and it has some improvement points but they barely talked about it. Instead, they were positive in that Korean director made movies about a disaster that happened in Japan, which Japanese directors did not make, and they hope it could be screened in their homeland.

Q. Your movies mainly focus on the psychology of the main characters. Why?

A. I have been filming for the last 20 years but it is all about human stories in the end. Also as I am investing in my own movies and I could not expand the size. I cannot spend much on special effects or art, which limits my work to appeal as a drama or focus on characters. Money makes the film scale big. But how you constitute the emotions of characters meaningfully is probably the only way to expand the movie apart from getting a big investment. If the movie has no drama or story, it has no value as a film. So, if you watch my film, you have to receive my message.

Q. Your movies often contain creepy and uncomfortable scenes. Why do you persistently show them?

A. I do not want to lie in my movie. I improve every time I release a new film and I think it is right for me to express these scenes freely. There are many comfortable movies in this society. If my films are only seen by small audiences, I want to make films that people can emphasize with. I have my own world in my movies and it has be the center of the story. People can also perceive my stories differently as time passes on and when they come back to them.

Q. What is most important for you when you make a film?

A. Truth. I said it a little while ago. Kim Ki-duk is Kim Ki-duk. It is about making an honest film. As soon as I approach my film according to the taste of the audience and market and cast popular actors, I disappear and my truth disappears from the movie. I want to say that I only hear my heartbeat in my own movies.

jhkim@ktimes.com

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December 15, 2016

THE NET Goes to Dubai
KIM Ki-duk Returns to UAE

by Pierce Conran / KoBiz

Director KIM Ki-duk recently took part in this year’s Dubai International Film Festival with his 22nd feature THE NET, currently doing the festival rounds following its world premiere as part of the Venice Days section of the Venice International Film Festival. The maverick director has taken part in the festival before, having won the Best Director prize in the Murh AsiaAfrica competition for his Venice Golden Lion-awarded Pieta in 2012.

Following Venice, KIM’s film, which stars RYOO Seung-bum as a North Korean fisherman who accidentally drifts to the south when his fishing net is caught in his boat’s engine and must face tough interrogation by intelligence agents in South Korea, was invited to screen at the Toronto, Busan, Golden Horse and AFI Film Festivals, among others. The film opened in early October in Korea, garnering USD 360,000 in box office receipts from 56,500 admissions. THE NET is screening in Dubai’s ‘Cinema of the World’ program.

For its 13th edition, which ran from December 6th to 13th, the Dubai International Film Festival screened 156 feature films from 55 countries. Previous Korean winners at the festival, prior to the end of the Murh AsiaAfrica competition in 2013, were 2008 Best Film winner Treeless Mountain by KIM So-yong, 2009 Best Screenplay winner Mother for BONG Joon-ho and PARK Eun-kyo, and 2010 Special Mention recipient End of Animal by JO Sung-hee.

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March 21, 2017

Kim Ki-duk's 'The Net' wins prize in Fantasporto 2017

SEOUL, March 21 (Yonhap) -- South Korean director Kim Ki-duk's new film "The Net" has won the best Asian film award at this year's Oporto International Film Festival that closed in the Portuguese city early this month, the film's studio said Tuesday.

The drama film took home Best Film in the Orient Express official competition category for Asian films at the 37th edition of the festival that ran from Feb. 24 to March 4, the Kim Ki-duk Film said.

"The Net" depicts a hapless North Korean fisherman's struggle to return home after straying into South Korean waters.

Lee Won-geun, one of the film's co-stars along with Ryoo Seung-bum, received the best actor award in the festival's official competition Directors' Week section.

Oporto International Film Festival, also known as Fantasporto, is one of the world's three largest fantasy-genre film festivals along with Spain's Sitges International Fantastic Film Festival and the Brussels International Fantastic Film Festival of Belgium.

Above is a promotional poster for "The Net." (Yonhap)

sshim@yna.co.kr

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March 24, 2017

Films ‘Age of Shadows,’ ‘Net’ continue to sell abroad

A handful of Korean films were sold abroad after showcases at the Hong Kong International Film & TV Market last week, film distributor Finecut said Friday.

“One Step,” a romantic film featuring the former K-pop singer Sandara Park has been sold to Thailand’s Studio Aromdi, and rights for airline screening have been sold to Encore Inflight. 

Director Kim Ki-duk’s “Net,” a story about a North Korean fisherman who accidentally drifts into South Korean waters, has been sold to Distribution Company Sudamericana S.A. for distribution in Uruguay, Chile and Paraguay. The film’s rights have additionally been sold to Greece’s Danaos Films, Denmark’s Rialto Film and France’s ASC Distribution.

“Age of Shadows,” director Kim Jee-woon’s film-noir take on fight for Korean independence from Japanese occupation, has been sold to Japan’s Aya Pro, UK’s Soda Pictures, and to Splendid Film for distribution in Germany, Austria and Switzerland.

The film has previously secured global sales to the US, Canada, Spain, Australia and all of South America, among other areas. 

“Age of Shadows” opens in some 30 UK theaters Friday.

(doo@heraldcorp.com) 

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June 29, 2017

3 S. Koreans named new Academy members

SEOUL, June 29 (Yonhap) -- South Korean filmmaker Kim Ki-duk, cinematographer Chung Chung-hoon and CJ Vice Chairwoman Lee Mie-kyung were named on Thursday (Korean time) as new members of the Academy of Motion Picture Arts and Sciences (AMPAS) that awards the annual Oscars, the organization's official website showed.

The three names were among the 774 new invitees announced by AMPAS to represent 57 countries. Members of the organization have rights to decide the recipients of the annual Oscars.

Also known as Miky Lee, the CJ executive was mainly responsible for the overall strategic direction and management of the conglomerate's entertainment and media arm, CJ E&M. She is known to have remained in the United States since 2014 citing a health problem. But she has since been actively engaging in overseas entertainment industries, according to CJ officials.

This photo provided by CJ Group shows its Vice Chairwoman Lee Mie-kyung, also known as Miky Lee. (Yonhap)

Kim, who won best director at the 2004 Berlin International Film Festival for "Samaritan Girl," was invited for "Spring, Summer, Fall, Winter ... and Spring" (2003) and "3-Iron" (2004).

Chung was in charge of the cinematography of director Park Chan-wook's "Old Boy" (2003), "Thirst" (2008), "Stoker" (2013), " and "The Handmaiden" (2016). He also worked on acclaimed thrillers such as "The Unjust" (2010) and "New World" (2013).

The AMPAS currently has about 6,000 members. Among the Koreans who previously became members are directors Im Kwon-taek and Bong Joon-ho, Park Chan-wook and Kim So-young; actors Choi Min-sik and Song Kang-ho and Lee Byung-hun; and Walt Disney's top animator Kim Sang-jin.

This file photo shows director Kim Ki-duk. (Yonhap)

sshim@yna.co.kr

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June 29, 2017

Kim Ki-duk, Lee Mi-kyung invited as new members of Academy

Kim Ki-duk holds his Venice Film Festival Golden Lion Award at a press conference at Megabox in Dongdaemun in Seoul in September 2012. (Yonhap)

A handful of Koreans, including filmmaker Kim Ki-duk, director of photography Chung Chung-hoon and CJ Group Vice Chairwoman Lee Mi-kyung, have been invited to become members of the Academy of Motion Picture Arts and Sciences.

Also included are animator Lee Sang-jun, who worked on the 2013 animation “Epic,” and Korean-American Helen Lee-Kim, president of international sales at film production company Good Universe. 

The organization, whose members decide the recipients of the annual Oscars, announced this year’s list of 774 invited members Thursday.

Kim, who rose to international fame through films such as “Bad Guy” (2001) and “Samaritan Girl” (2004), was invited for “Spring, Summer, Fall, Winter ... and Spring” (2003) and “3-Iron” (2004).

Chung has worked closely with filmmaker Park Chan-wook, directing the photography for films such as “Oldboy” (2003), “Stoker” (2013) and “The Handmaiden” (2016). He has also worked on well-received thrillers such as “The Unjust” (2010) and “New World” (2013).

Chung also worked on “The Current War,” starring Benedict Cumberbatch, set for release later this year. 

Lee of CJ Group moved to the US in 2014 and has since been involved in film production and distribution company CJ Entertainment. 

“She has been active in the foreign entertainment industry after her move to the US,” according to a representative at CJ Group. 

Until last year, there were 10 Korean members in the academy, including directors Im Kwon-taek, Bong Joon-ho and Park Chan-wook, and actors Song Kang-ho, Choi Min-sik and Lee Byung-hun. 

Under pressure to diversify its membership, an eclectic group of stars from around the world were newly invited to the academy.

“It’s up to all of us to ensure that new faces and voices are seen and heard, and to take a shot on the next generation the way someone took a shot on each of us,” wrote the academy’s President Cheryl Boone Isaacs in announcing this year’s invited members, of which 39 percent are women and 30 percent are people of color.

By Rumy Doo (doo@heraldcorp.com) 

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July 11, 2017

Production Wraps on KIM Ki-duk’s THE TIME OF HUMANS
AHN Sung-ki, RYOO Seung-bum, Joe ODAGIRI and JANG Keun-suk End Shoot

by Pierce Conran / KoBiz

The Time of Humans, the 23rd film from veteran indie filmmaker KIM Ki-duk, ended its shoot on July 3rd. The film features a major roster of acting talent that includes AHN Sung-ki, RYOO Seung-bum, Joe Odagiri, JANG Keun-suk, LEE Sung-jae and Mina Fujii.

Taking place on a battleship, The Time of Humans focuses on a varied group of people whose desires and true moral ethics come out in the close quarters of the ship. The passengers include RYOO’s gang boss, JANG’s villainous character Adam, a Japanese couple played by Fujii and Odagiri, LEE’s captain, and an old man played by AHN.

Director KIM, famous for works such as Spring, Summer, Fall, Winter and Spring (2003) and 3-Iron (2004) and a Golden Lion winner at the Venice International Film Festival for his 2012 film Pieta, most recently made the North Korean fisherman drama THE NET, which was his first collaboration with RYOO.

AHN is a Korean screen legend whose credits extend from KIM Ki-young’s The Housemaid (1960) and PARK Kwang-su’s Chil-su and Man-su (1988) and several modern classics. RYOO is known for his collaborations with his brother, director RYOO Seung-wan, such as The Unjust (2010) and The Berlin File (2013). Popular star JANG’s last film role was 2011’s You’re My Pet. Japanese star Odagiri has been seen in several Korean works, including KIM’s Dream (2008).