Bae Doo Na 배두나

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May 16, 2014
July Jung work selected by Cannes
By CARLA SUNWOO. Korea JoongAng Daily


Kim Sae-ron, front, and Bae Doo-na play two lonely females in “A Girl at My Door.” Provided by CGV Movie Collage
Bae Doo-na will make a comeback to Korean cinema with “A Girl at My Door” (Dohee-ya) this month. The film made this year’s Cannes’ official selection, or Un Certain Regard, and is one of the three Korean films invited this year. 
Bae, 34, who has spent the last few years working on Hollywood films, from “Cloud Atlas” (2012) to “Jupiter Ascending,” (2014), takes on the role of a policewoman named Young-nam who is transferred from Seoul to a seaside town. 
Although she tries to remain low-key at the request of her superiors, Young-nam starts rocking the boat in order to protect a young girl named Do-hee (Kim Sae-ron) who is being abused by her stepfather. 
Director July Jung said she was thrilled to have her first feature “about lonely people” screen at Cannes. 
“I wasn’t expecting this at all, even now it doesn’t feel real,” Jung said.
For Bae, who said she labors over every script pitched to her, “A Girl at My Door” was a no-brainer. “I was won over in record time,” she said, attributing time spent abroad for being able to relate to the loneliness that pervades the film. 
“I fell for this Do-hee character, and regardless of who would be playing [her], I wanted to be there supporting her.” The film opens May 22. 

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Source:  The ChosunIlbo
Today's Photo: May 16, 2014


Actress Bae Doo-na leaves Incheon International Airport on Thursday to attend the Cannes film festival, which runs until May 25. /News 1
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class="at_ttl" style="padding: 0px; margin: 0px; list-style: none; font-size: 30px; line-height: 35px; clear: both; font-family: Arial, Helvetica, sans-serif;"Bae Doo Na On Her Way To Cannes 2014

Actress Bae Doo Na was spotted in the Incheon international airport on her way to the Cannes 2014 Film Festival. Actress Bae Doo Na was invited to the Cannes international film festival for her role as Young Nam in the movie "A girl at my door." The movie "A girl at my door" is the debut production of the director July Jung. The movie has been invited to the "un certain regard" section of the Cannes international film festival. The movie "A girl at my door" (Korean tittle Do Hee Ya) tells the story of a girl who experiences family violence, and another girl who works in the police office who tries to help out the girl.

Copyright ⓒ 2012 KDramaStars.com All rights reserved. Do not reproduce without permission.

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class="at_ttl" style="padding: 0px; margin: 0px; list-style: none; font-size: 30px; line-height: 35px; clear: both; font-family: Arial, Helvetica, sans-serif;"Movie ‘A Girl At My Door’ Selected For "Un Certain Regard" section of Cannes 2014
Actress Bae Doo Na's latest movie 'A Girl At My Door' was selected for "Un Certain Regard" section of the 2014 Cannes international film festival, and will be shown in Cannes during the festival. The movie 'A Girl At My Door' has also been confirmed to premiere in theaters in Korea on May 22, 2014. "A girl at my door" (Korean tittle Do Hee Ya) tells the story of a girl who experiences family violence, and another girl who works as a police officer who tries to help out the girl. The movie "A girl at my door" is the debut production of the director July Jung. The movie has been invited to the "un certain regard" section of the Cannes international film festival. Actress Bae Doo Na was invited to the Cannes international film festival for her role as Young Nam in the movie. Actress Kim Sae Ron plays the fourteen year old Do Hee, who is a mysterious school girl with the history of physical abuse from her father.   

Copyright ⓒ 2012 KDramaStars.com All rights reserved. Do not reproduce without permission.

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Cannes 2014 Review: A GIRL AT MY DOOR Is Korean Cinema At Its Finest

Pierce Conran | TwitchFilm | May 17 2014

Screening in the Cannes Film Festival's Un Certain Regard section this year is A Girl at My Door, a film that is so well-wrought that one can't help but be swept up in its artistry, which effortlessly plunges us into an intellectual reverie. The film features the return of Bae Doo-na, following back-to-back Hollywood blockbusters, and teenage actress Kim Sae-ron. It also boasts Lee Chang-dong as a producer, whose influence over the film will not go unnoticed.

A Girl at My Door stars Bae Doo-na as Young-nam, a police captain who has been forced to transfer to a remote seaside town following an incident in her previous district. There, she meets Do-hee, a precocious teenager who is regularly beaten by her drunkard of a father. Young-nam takes the young girl under her wing but soon, their unusual living arrangements begin to draw scrutiny from the locals. Among other things, this is a work that concerns a society that is content to demonize certain taboos so long as a shroud is maintained over the deep-rooted problems that stare them in the face on a daily basis.

The film opens with the whir of cicadas and the sun beating down on the verdant summer soil as Young-nam drives into a seaside village. Up ahead, Do-hee is playing with a frog by the side of a road. Young-nam drives past, inadvertently easing into a puddle and dousing Do-hee in rainwater. She stops, steps out of the car and they stare at each other for a long beat before Do-hee dashes off into a field. From the outset, an ominous overtone hangs over their inextricable relationship. Shortly thereafter, the film's title appears over a symmetric shot of a sun-drenched field, unmistakably recalling the opening of Bong Joon Ho's Memories of Murder (2003).

A Girl at My Door is a film about relationships and this focus is reflected in the mise-en-scene, which features an abundance of two-shots. On opposite sides of the frame and at an equal distance from the camera, characters perpetually face each other on screen. As they slowly develop their relationship, Young-nam and Do-hee are frequently framed this way. Beyond the height difference of the actresses, there is almost always something in the background that splits the frame in two. Another two-shot between Young-nam and Do-hee's father in the police station also features a barrier, but in this shot, Young-nam breaks through it as she assertively walks towards him, and the camera reframes. She has thrown down the mantle and thus becomes Do-hee's guardian, and the barriers between them (literal and figurative) begin to disappear.

Thoughtfully executed and laden with metaphors, Jung's film is a real treat for anyone not looking to be spoonfed their narratives. One particularly striking image comes early on, when Young-nam follows behind Doo-hee at night, happening upon the sinuous and bushy path that leads to the girl's home. Labyrinthine, the trail is atmospheric and foreboding and as it leads to Doo-hee's poor dwelling, it feels like it's hiding a secret. This image comes full circle later on when Young-nam dashes through the path once more, but this time from Do-hee's home. She winds through it until it opens out on to the expanse of the ocean. As Young-nam reaches the end of the path, she slows, and as we see her from behind, her slender, awkward frame is engulfed by the coast. The truth has been released but now finds itself in vast, uncharted waters. In fact, water frequently appears as a symbol throughout the film.

Bae Doo-na has appeared in some of the most famous films of modern Korean cinema. She possesses a natural sensitivity that has allowed her to incarnate characters operating around the fringes of society. Playing someone who is both at the center of society (as a police officer) and on the very edge of it, Bae excels as Young-nam. Much of A Girl at My Door is shot in closeup and with Bae's keen expressions in the frame, the film is all the better for it.

For her part, Kim Sae-ron has developed a reputation for playing troubled young girls and is no stranger to characters like Do-hee. However, this role called on Kim to show more layers and depth than she has previously done. Her timidity, precociousness, anger and curiosity are each vividly drawn while also feeling part of a well-formed whole. Lastly, Song Sae-byeok hits a career high as the abusive father. Song's awkward and buffoonish characters have been welcome fixtures in Korean comedies, but here he shows a completely new side of himself. His squelching cadence and lanky physicality meld into a magnetic antagonist.

Harder to ascertain is who the brains was behind this magnificent feature. The film's tone owes a great deal to its producer Lee Chang-dong, with a mood that echoes his most recent pictures Secret Sunshine (2007) and Poetry (2010). It so happens that Lee was Jung's teacher at the Korea National University of Arts. The film is also well rounded to a degree that one could scarcely attribute to a neophyte in the director's chair. Elements in the film, such as its feminine touch, certainly denote a different presence behind the lens, but one can't help but wonder what kind of a film Jung will make next, without Lee's guiding hands.

Gripping from start to finish, A Girl at My Door is a film with its fair share of high drama, but unlike most of its Korean compatriots, it never overplays its hand and treats its audience with respect. It may be a little unclear how big of a talent we've just been introduced to in July Jung, but there's no question that her film is the real deal. A Girl at My Door is Korean cinema at its finest.

Read more: http://twitchfilm.com/2014/05/cannes-2014-review-a-girl-at-my-door-is-korean-cinema-at-its-finest.html#ixzz31vvlReEY

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Korean stars shine a light on indie cinema

Production Feature

There was a time, about a decade ago, when the South Korean film industry felt more or less like one large creative community. This community turned out diverse films that occupied various points along the commercial spectrum, but despite its diversity there was a cohesiveness to Korean cinema – a sense that Korean films all occupied the same space. Then, like a cell dividing, two distinct entities emerged.

Primarily this was the result of growth: the production of low-budget, independent films in South Korea has exploded over the past five years. Just like everywhere else, improved digital equipment at low prices has made it easier than ever for individuals and small production houses to shoot films with modest resources. South Korea also has an overabundance of directorial talent, with its numerous film schools and cinephile culture. With opportunities comparatively scarce in the mainstream commercial film industry, more directors are turning to independent production.

In the present day it seems more accurate to say that South Korea has two film industries: the mainstream commercial sector, which is dominated by vertically integrated media conglomerates; and the independent sector. The commercial sector releases about 70 titles per year, with budgets ranging from US$3 million to US$10-15 million for the typical blockbuster. Films on the lower end of this spectrum have to sell 1.2 million — 1.5 million tickets in order to turn a profit. By contrast, the 80-odd independent films and documentaries that are released into specialty theatres each year are typically considered to have turned in a decent performance if they sell 10,000 tickets. The Korean Film Council defines low-budget features as those costing less than 1 billion won (US$968,000) to produce. In practice, very few films are made each year in the US$500,000 to US$2 million budget range.

In terms of production costs and distribution, these two film-making communities remain largely distinct. But in terms of manpower, there is crossover. It's not uncommon for young directors to establish their reputations with independently produced works, and later go on to make an impression in the commercial sector. One example is director JO Sung-hee 조성희, whose independent feature debut End of Animal 짐승의 끝 (2010), shot for US$50,000, screened in Rotterdam and Vancouver and had remake rights sold to Australia. Two years later Jo's first commercial feature A Werewolf Boy 늑대소년 (2012) sold over seven million tickets (₩49.5 billion; US$47.9 million). Established commercial directors also sometimes move in the other direction, opting for a low-budget production model that offers them more creative freedom. Among his upcoming projects, acclaimed director LEE Joon-ik 이준익 | 李濬益 (King and the Clown 왕의 남자 (2005), Hope 소원) is currently preparing a low-budget independent work about a famous Korean poet.

But perhaps the most interesting examples of crossover involve Korean stars. Stars by their nature are judged by their degree of commercial success. Hit films propel a star's career forward. At the same time, the robust star system that has developed in South Korea over recent decades has played a major role in driving the commercial development and international expansion of the local film industry. In this sense, the symbiotic relationship between stars and commercial films has benefited both sides. But what sort of benefit accrues from appearing in a low-budget film that sells 10,000 tickets?

The relationship between South Korea's star system and its growing independent film-making sector is one that is still under negotiation. On the one side, the benefit for independent film-makers who cast stars in their films would seem to be obvious. But it is not without risks: an actor's star image can sometimes counteract or overwhelm the intended mood of a story, and without the marketing muscle of a major distributor, the casting of a star does not guarantee a wider audience. Logistically as well, the shooting of a film with a name star is more complicated and time-consuming than shooting with a talented but no-name cast.

From the point of view of stars and their management companies, the situation is far from straightforward. It's outdated to think of independent films as merely a stepping stone to the commercial film industry, but for up-and-coming actors, such cases do exist. Young actor LEE Je-hun 이제훈 | 李濟勲's acclaimed performance in the independent film Bleak Night 파수꾼 (2010) was seen by only 23,000 viewers in cinemas, but the buzz created in the film community led directly to roles in major commercial films like The Front Line 고지전 (2011) and Architecture 101 건축학개론(2012). More recently, young actress CHEON U-hui 천우희 has become one of the industry's most talked about names thanks to her performance in Han Gong-ju 한공주, which won numerous festival awards and emerged as a breakout indie hit during its April release.

For already established stars, a role in an independent film offers limited additional exposure, but there can be other benefits. Stardom is a complicated phenomenon that involves prestige as well as popularity. In this respect, the opportunity to work with an acclaimed director, or to be invited to a leading film festival, can lend added depth to a star's image.

An obvious success story comes in the form of July JUNG 정주리's low-budget debut feature A Girl at My Door 도희야 (pictured), which screens in Un Certain Regard. BAE Du-na 배두나 | 裵斗娜 plays the leading role of a police chief transferred to rural village, where she develops a relationship with a teenage girl who is abused by her father. Bae, famous for her highly praised and eclectic performances in Korean films like Take Care of My Cat 고양이를 부탁해 (2001), Sympathy for Mr. Vengeance 복수는 나의 것 (2002), and The Host 괴물 (2006), has branched out into international production in recent years. In addition to memorable roles in YAMASHITA Nobuhiro 山下敦弘's Linda Linda Linda リンダ　リンダ　リンダ (2005) and KORE-EDA Hirokazu 是枝裕和's Air Doll 空気人形 (2009), she was described as a "revelation" in Cloud Atlas(2012) and also appears in this year's Jupiter Ascending. A Girl at My Door gives Bae not only a chance to walk the Un Certain Regard blue carpet, but also a dramatically complex role that is sure to generate accolades. It also, in a sense, re-establishes her credentials at home after her recent activities in Hollywood.

For Bae's co-star SONG Sae-byeok 송새벽, who plays the abusive father, A Girl at My Door offers the opportunity to develop a new side to his star image. Song's award-winning supporting role in period drama The Servant 방자전 (2010) greatly increased his exposure in the film industry and led to many additional roles in films like Meet the In-Laws 위험한 상견례 (2011) and the big-budget Sector 7 ７광구 (2011). However his particular mannerisms and on-screen quirks were replicated in each film to the extent that they lost much of their freshness. In contrast, his diametrically opposed image and powerful performance in A Girl of My Door is likely to attract significant notice, and cause both viewers and other directors to see him in a new light. Of course, it is just as possible to transform one's image in a commercial film. But the range of characters and emotional shadings in independent cinema is unquestionably broader than in mainstream commercial cinema, which critics describe as growing more and more predictable as major companies take an increasingly large role in the creative process.

Of course, very few Korean independent films are fortunate enough to secure an invitation from Cannes, and one danger of appearing in a low-budget film is that a star will devote much time and effort to a project that ultimately draws little interest. A well established actress recently said that her management company has been hiding independent scripts from her out of concern that she might want to make them. Given the sheer number of independent films being sought in South Korea these days, even established actors run the risk of having their work disappear with little trace.

But one of the selling points of independent cinema is simply the opportunity for actors to take on ambitious roles that test their capabilities. Actor YU Jun-sang 유준상 | 劉俊相, who takes a major role in Point Black remake The Target 표적 which was selected as one of this year's Midnight Screenings, has built a successful career moving back and forth between commercial cinema, independent films and TV. Most famous in South Korea for his role in a hit TV drama, he also walked the red carpet in Cannes in 2012 for HONG Sang-soo 홍상수 | 洪常秀's In Another Country 다른 나라에서 (2012), and took the lead in independent director MIN Boung-hun 민병훈 | 閔丙勛's critically praised Touch 터치 (2012). In this way he has gained a reputation as an actor with both wide range and popular appeal.

Nonetheless, most of Korea's stars still seem unsure whether to embrace Korean independent cinema more fully, or to stick primarily with commercial cinema. Indeed, the jury is out on how much Korean independent films will be able to intrude into the public consciousness in general. Recent breakout hits such as Han Gong-ju and Sundance World Cinema Competition winner Jiseul 지슬 (2012) are grounds for optimism, but given the inherent inequities in the system, the sector as a whole has a steep hill to climb. The extent to which Korean stars lend a helping hand, or stand to the side and watch, will help determine the future of the independent sector in the coming years.

By Darcy Paquet | FIlmBiz Asia

Sat, 17 May 2014, 09:30 AM (HKT)

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May 15, 2014.Leading Korean Studios Bring Enticing Market.Nemo Kim Variety.com
In contrast to South Korea’s anemic festival presence, things are much brighter on the market side. The big three — CJ, Lotte and Showbox — have plenty to shout about.
CJ E&M brings Un Certain Regard screener “A Girl at My Door,” helmed by July Jung and produced by Lee Chang-dong, and “The Target,” a remake of French “Point Blank” by helmer Chang, to the Croisette. CJ is also screening “No Tears for the Dead,” helmed by Lee Jeong-beom (“The Man From Nowhere”), and historical maritime epic “Roaring Currents,” directed by Kim Han-min. CJ will also show a 3D omnibus film “Mad, Sad, Bad” by three well-known names in the Korean industry, Ryoo Seung-wan (“No Blood, No Tears”), Han Ji-seung (“Papa”) and Kim Tae-yong (“Late Autumn”).
Lotte’s Cannes lineup includes “The Pirates,” an epic set in 14th century Korea; another historical piece, “The Fatal Encounter,” about a murderous plot in the royal palace during the Joseon Dynasty; “Memories of the Sword,” a Joseon period drama about revenge; “Man on High Heels,” about a cold-blooded detective who secretly desires a sex change; and “Manhole,” which features a serial killer who uses the sewer system to abduct his victims.
Showbox’s lineup includes: “A Hard Day,” a thriller about a detective who buries his car accident victim in the same coffin as his mother; historical epic “Kundo: Age of the Rampant”; “Gangnam Blues,” introduced at the Hong Kong FilMart; “The Divine Move,” a noir actioner about professional gamblers; and “We Are Brothers,” a comedy about a Korean-born American adoptee who finds his biological family.
On the independent side, Finecut has a pair of new titles backed by distributor NEW, and Indiestory has short film “Breath” in the Cinefondation section.

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May 17, 2014
CJ sells Girl At My Door.By Liz Shackleton ScreenDaily
EXCLUSIVE: Directorial debut of July Jung sells to French distributor Epicentre.
Korea’s CJ Entertainment has scored an early deal on Un Certain Regard title A Girl At My Door, which has gone to French distributor Epicentre.
Starring Bae Doo-na (Cloud Atlas), the film is produced by Lee Chang-dong (Poetry) and marks the directing debut of July Jung.
The story follows a female police officer exiled to a small seaside town who tries to help a young girl who is being beaten by her father.
Produced by Lee’s Pine House Film and Now Films, the film also stars Kim Sae-ron and Song Sae-byuk.
It receives its world premiere in Un Certain Regard on Monday (May 19).

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Source: OhMyStar

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May 18, 2014.Bae Doo Na leaves a comment about the invitation that movie 'Do Hee' has received from Cannes Film Festival Source: STARN News

Bae Doo Na left a comment about the official invitation that movie 'Do Hee' has received from Cannes International Film Festival.
On May 17th, Bae Doo Na, Kim Sae Ron, and Song Sae Byeok appeared on KBS 2TV 'Entertainment Weekly' for an interview.
'Do Hee' recently received an official invitation for Cannes International Film Festival's 'Un Certain Regard' section. As the reporter asked Bae Doo Na how she felt after hearing the news, Bae Doo Na said, "I was so excited that I jumped around in my home."
The reporter said, "Your house must be huge," and Bae Doo Na said, "It is small, but I had a run."
Meanwhile, films with unique and progressive contents from all over the world get introduced during Cannes International Film Festival's 'Un Certain Regard' section.
/Reporting by Kim Dong-Joo en@starnnews.com

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May 19, 2014
Bae Doona Attends Louis Vuitton’s New Collection Show as a Muse for Nicolas Ghesquière
Source: BNTNews.[by Cho Suyoun] Bae Doona was invited to Monte Carlos, Monaco by Louis Vuitton as newly appointed artistic director Nicolas Ghesquière pickedthe actress as her Korean muse.
On this day, Louis Vuitton presented 2015 Cruise Collection Show among global VIP and top stars. The location was at Palais du Princier in Monaco as the country’s grand duchess Charlene Wittstock let Louis Vuitton hold the event inside the palace.

For the event, Bae Doona put on Nicolas Ghesquière’s first Louis Vuitton Collection ‘2014 F/W’ look and appealed her chic charms. Along with this first-ever Korean star, Charlotte Gainsbourg, Jennifer Connelly, Adele Exarchopoulos, Gong Li and  Zhang Ziyi were invited to the show. (photo by Louis Vuitton)

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Jim Sturgess spotted accompanying Bae Doo Na at the 'Cannes Film Festival'
Actress Bae Doo Na was again spotted with English actor Jim Sturgess whom many people had been speculating for a long time to be her boyfriend.  As he was seen accompanying her to the official screening of her movie 'A Girl At My Door' at the Theatre Debussy in Cannes as a part of the 'Cannes Film Festival' on May 19, people are wondering whether the two will go public with their relationship sometime soon.


The two had previously worked together in 'Cloud Atlas' and were seen countless times on what appeared to be dates, some actually in Seoul.  However, they had yet to confirm any of these dating rumors.  

In the theater on this day, Jim Sturgess sat besides Bae Doo Na and clapped for her at the end of the movie.  They then went to eat with the reps of movie 'A Girl At My Door' together. 


credit alim17@Allkpop | May 19 2014

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Source:  KoBiz (Korean Film Council)
BAE Doo-na at the theatre for A Girl at My Door

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Source: KoBiz (Korean Film Council)
BAE Doo-na signed our Cannes version of KCT!!!! Wow!

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May 20, 2014
Bae Doo-na in Cannes.

South Korean Actress Bae Doo-na (2nd from L) attends an event in Cannes, Paris, on May 19, 2014, to showcase the new film "Doohee-ya," the story of a 14-year-old girl suffering from domestic violence with the help of a police officer. From left are director Jung Joo-ri, Bae, actress Kim Sae-rohn and actor Song Sae-byuk. (Yonhap) (END)

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May 20, 2014
Bae Doona and Jim Sturgess Are Dating? by jun2yng http://www.soompi.com/2014/05/20/bae-doona-and-jim-sturgess-are-dating/#.U3sPRvlvKV4
.
“Cloud Atlas” costars Bae Doona and British actor Jim Sturgess are dating?
One industry insider said on May 20, “They started off as friends, but now they are more than that. I say this with caution, but I believe they are dating.”
Another insider also said, “On May 19, Jim Sturgess attended the official screening for Bae Doona’s film ‘A Girl at My Door’ at the Cannes Film Festival, which seems like a public acknowledgement that they’re dating.”
The British actor made a surprise appearance at the screening for “A Girl at My Door,” where he greeted the movie officials and took a seat next to Bae Doona. The Korean actress will be holding an interview about her new film on May 20 with Korean reporters, where anticipation is high not only for her film, but whether or not she will reveal anything on her relationship with Jim Sturgess.
Bae Doona’s acquaintances said that she will most likely talk about the relationship.
The two actors met while filming for the 2012 Hollywood movie “Cloud Atlas.” Last February, the couple was caught on a date in LA, after which the actors denied any relationship rumors..Source
.

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May 20, 2014
Bae Doo-na appears at Cannes fest with Jim Sturgess
By Lee Kyung-min The Korea Times
 
Bae Doo-na is seen with ‘Cloud Atlas' actor Jim Sturgess on her arrival at Cannes, Monday. / AP-Yonhap
Actress Bae Doo-na arrived at the Cannes Film Festival to promote her latest film "A Girl at My Door," one of three Korean films that have gotten a nomination at the prestigious event. The film is a debut for director July Jung. 
In the latest movie, Bae plays police academy graduate Young-nam who gets demoted and sent to work at a police station in a remote coastal city. 
Her character meets Do-hee, played by Kim Sae-ron, a teenage girl who suffers constant abuse from her stepfather, played by actor Song Sae-byeok. 
Bae portrays a character who sees herself in Kim Sae-ron's character and recognizes that they are suffering from similar pain, and the two characters develop a meaningful friendship. Bae said that she was so fascinated by the storyline that she decided to star in the movie without pay. 
At the film's official screening at the Theatre Debussy, those in attendance gave it a three-minute standing ovation and it received positive reviews from the media. 
At the screening, Bae was accompanied by the English actor Jim Sturgess, who was long-rumored to be her boyfriend since they co-starred in the 2012 movie "Cloud Atlas." 

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class="title_sec" style="background-color: rgb(255, 255, 255); font-size: 28px; margin: 0px 0px 15px; padding: 0px; border: 0px; outline: 0px; vertical-align: top; color: rgb(39, 41, 42); line-height: 34px; font-weight: normal; font-family: Georgia, 돋움, Dotum, Helvetica, AppleGothic, sans-serif;"Dress styles of Korean actresses heat CannesKorean actresses attending the Cannes Film Festival are drawing the media spotlight for their fashion styles, from earrings to dresses.
 
Jeon Do-yeon, 41, the first Korean to serve as a jury member at the 67th international film festival, grabbed the eyes of global fans with a “clever” dress style. 

At a photo call held for the members of the jury last week, Jeon wore a Chanel white lace dress with unbalanced earrings. Her light makeup added to the style of loveliness and innocence. 

(OSEN)

Later in the day, however, the Korean jury member showed up with a sexy off-shoulder black dress that contrasted with her earlier angel-like appearance. The see-through in the arms and waist part of the dress stressed the feminine and elegant style. 

The Versace black piece is only available for VIP customers, sources said. It was not originally made for sales purposes, they added. 

(Van Cleef & Arpels)

Van Cleef & Arpels Isabella earrings also enhanced the classy style of Jeon. The earrings, which were shaped with 16.37 Carat Marquise Cut and 2.67 Carat Baguette Cut Diamonds, reportedly take more than 400 hours to produce per pair. Security guards accompanied the actress to ensure the safety of the high-end accessories. 

Song Hye-kyo, 32, who was invited to the festival to promote the Chinese film “The Crossing,” also attracted her fans with a girly white dress and simple earrings. 

(Yonhap)

The other Korean actress, Bae Doo-na, 34, walked on the red carpet with a long, dark-green, lace-patterned dress, alluring fans with a feminine style. Bae arrived in Cannes to attend the premiere of “Foxcatcher.” 

(Yonhap)

The Cannes Film Festival will continue until May 25

By Lee Hyun-jeong (rene@heraldcorp.com) |?May 2014

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Bae Doo Na Returns from Hollywood with a New Korean Film
[by Cho Suyoun / photo by Jang Moon Sun] On May 12, new film 'Dohee' hosted a press conference at CGV Wangsimni in Seoul. 
'Dohee,' starring Bae Doo Na, Kim Sae Ron and Song Sae Byuk, is a fictional drama about girl name Dohee, who makes extremely dangerous decision to protect the most precious thing for her. The film will be released on the 22nd of May.
contact: news@bntnews.co.uk | May 13 2014

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 Source: Festival de Cannes - Page Officielle

Doona Bae© FDC/Paul Grandsard