Bae Doo Na 배두나

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A Girl At My Door VIP screening

May 12 2014 credit Dooncafe vis ActressBaeTV@YT 

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Arirang Features Cannes 2014 and talks about A girl at my door

credit arirang news | YT

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May 22, 2014
Bae Doo-na Admits to Dating Former Co-Star Sturgess
Source: The ChosunIlbo
After a long period spent denying the rumors, actress Bae Doo-na has admitted to being in a romantic relationship with English actor and singer-songwriter Jim Sturgess.
She came clear during a press event on Tuesday for "A Girl at My Door," which has been invited to this year's Cannes Film Festival.
Along with the film's director and some of her co-stars, Bae fielded questions from the media and said that Sturgess is her boyfriend.


The British actor drew attention earlier this week by appearing with Bae at a screening of the movie as well as at other events in Cannes, thus fueling speculation that the two are in love. 
They first met during the filming of "Cloud Atlas" in 2012 and have often been spotted together in Seoul and Hollywood since then. However, Bae's agency has repeatedly squashed rumors of them being an item.

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May 22, 2014
Source: The ChosunIlbo

Actresses Kim Sae-ron (left) and Bae Doo-na pose during a photo call at the 67th Cannes International Film Festival in France on Tuesday. /AP-Newsis Actresses Kim Sae-ron (left) and Bae Doo-na pose during a photo call at the 67th Cannes International Film Festival in France on Tuesday. /AP-Newsis

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May 22, 2014
MORE OF BAE DOO NA FOR VOL. 68 OF 1ST LOOKhttp://couch-kimchi.com/2014/05/22/more-of-bae-doo-na-for-vol-68-of-1st-look/

Go here for Bae Doo Na‘s previously released spreads from Vol. 68 of 1st Look.
Source  |  1st Look

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May 23, 2014
Cannes Takes to A GIRL AT MY DOORKorean Drama Bows in Un Certain Regard by Pierce Conran KOFIC

July JUNG’s debut feature A Girl at My Door had its world premiere in the Un Certain Regard section of the 67th Cannes Film Festival on Sunday, May 19th. The film was enthusiastically received on the Croisette following its red carpet premiere, with director JUNG and stars BAE Doo-na, KIM Sae-ron and SONG Sae-byeok in attendance. The screening at the Theatre Debussy was followed by a three-minute standing ovation. Trade newspapers quickly published positive reviews following the film’s debut screening. Screen Daily’s Mark Adams called A Girl at My Door ‘a resolutely left-field and refreshingly off-kilter dram.’ Maggie LEE, writing for Variety, wrote that the film was a ‘wrenching drama’, and offered particular praise for the cast, referring to BAE’s performance as both ‘towering and frail’ and deeming young star KIM ‘electrifying’. Film Business Asia’s Derek Elley was also quick to praise KIM, for sliding ‘convincingly through a range of personas.’ CJ Entertainment released A Girl at My Door to day in Korean theaters (May 22nd), The film is produced by brothers LEE Changdong and LEE Joon-dong for Pinehouse Films.

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May 23, 2014
‘Dohee-ya’ to be released in France
By Lee Hyun-jeong The Korea Herald

Korean movie “Dohee-ya (A Girl at My Door)” will be released in France amid growing interest in Cannes, officials said Friday. 
French film company Epicentre will distribute the movie no later than this year, the company said. It will be provided to about 60 movie theaters in the country, it added. 

(OSEN)
Dohee-ya has been invited to the Cannes Film Festival as part of the non-competitive section, and been highly praised by film critics. 
The movie, starring Bae Doo-na and 15-year-old Kim Sae-ron, shows an encounter between a police woman and a mysterious girl who was abused by her family. 
The U.K. and Italy also decided to distribute Dohee-ya. Distribution negotiations are also underway in Japan, sources said. 

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Korean actors on A Girl at My Door

By Kevin Ma

Sat, 24 May 2014, 20:00 PM (HKT)

FILM BUSINESS ASIA

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Talent Feature

After its world premiere at the Cannes Film Festival, Film Business Asia sat down withBAE Du-na 배두나 | 裵斗娜, KIM Sae-ron 김새론 | 金賽綸 and SONG Sae-byeok 송새벽 | 宋詩曦 (pictured left to right), the stars of July JUNG 정주리's A Girl at My Door 도희야 to discuss what drew them to the intense drama, the atmosphere on the set and working with a first-time director.

What attracted you to your respective characters?
Song: Who would ever be attracted to my character?! The script was clear and easy to understand. I was joking about my character just now, but the script was very well-written, so I decided to join the film.

Kim: Perhaps the main reason is when I first read the script and saw the character Do-hui, I just felt instantly that this is something I must do. I should be this character.

Bae: There are several reasons that I decided to do this movie. First of all, the script was very well-written. It's very spacious and imaginative. So I was attracted to the script and the director. Also, my character Yeong-nam is a difficult character, very challenging. So I felt very fond of working on such a challenging character. I also fell in love with the Do-hui character. I could understand the loneliness of each character. It's been a while since I took on a realistic character, but I really enjoyed working on this film.

There are some very difficult scenes in the film, such as the abuse scenes. How did you approach them on the set?
Song: It was a very difficult matter for me. When I first read the script, I wondered how I could do such scenes. I was curious and worried about how it would be portrayed in the film. But one day, I spoke to Sae-ron, and she told me not to worry and just play my character. The mood on the set was also very caring, so that too helped me a lot.

Kim: For the scenes in which I get beaten up, I wasn't worried at all. I felt that I could do it, and I didn't find them that difficult.

Bae: She's very professional.

Kim: Do-hui seems very fragile, but she is also sometimes very mysterious and scary inside. That was the difficult thing for me to act.

Bae: Luckily, I didn't have that many difficult scenes. We just tried to help each other a lot on set, especially Sae-ron because she's underage and we have to protect her.

As experienced actors, how does it feel to work with this first-time director?
Song: The script was very clear, and I could really imagine its look. When I saw the film for the first time, it was very similar to the original script. When I first met the director, she was a very quiet and shy person. I was surprised because the script had so many rough scenes. But when she's at work, she's a very passionate person. So I'm looking forward to her next film.

Bae: I've worked with a few first-time directors, such as BONG Joon-ho 봉준호 | 奉俊昊 when I did Barking Dogs Never Bite 플란다스의 개 (2000). Actually, I quite enjoy working with first-time directors because they don't order you about or tell you what you should do. They're very collaborative. They enjoy studying the possibilities of the film with you. So I really like that. Actually, July may be a first-time director, but she has very strong opinions inside her. She's very clever, and she's a talented writer, so it wasn't so difficult to work with her. She seems very calm, but she has a storm in her mind. I think the film represents her very well. It seems very calm, but it has a strong personality.

Kim Sae-ron, you've already acted in three very strong film roles at a young age. What other characters would you like to play?
Kim: If acting is like school, then acting difficult roles is like studying maths. If you don't master maths, then you can't move on to the next grade. I don't think I've mastered difficult roles yet. So I don't think I can set any limits about what kind of characters I want to play yet. But maybe I would like to play a happy, bright character since it's so different from what I've played before.

Bae Du-na. You've worked in South Korea, Japan and Hollywood. What is unique about the film sets in the countries you've worked in?
Bae: There are some differences between the three countries. The Hollywood system is quite comfortable and convenient. Everything is very systematic, so it's very easy to work in, like 9-to-5 work. It's very efficient and timely. In the South Korean industry, the film sets are quite opposite. But I really love working on Korean films. There's always a lot of passion and intensity on the set, and a lot of creative power comes from that intensity. I think Japanese film sets are somewhere in between the two.

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May 20, 2014
Cannes: Korean Star Bae Doona on How Hollywood Loneliness Informs Her Acting
by Lee Hyo-won THR


The South Korean actress -- who, yes, is dating "Cloud Atlas" co-star Jim Sturgess -- spoke about returning home to play an outcast in Un Certain Regard title "A Girl at My Door" after shooting "Jupiter Ascending."
Bae Doona has emerged as a South Korean actor with a growing global pedigree, with her latest film A Girl at My Door being selected for Cannes' Un Certain Regard section. CJ Entertainment also scored an early deal with France's Epicentre for the drama and expects to close more deals. 
After turning heads in Bong Joon Ho's The Host, the 35-year-old went on to sweep acting awards in Japan for Air Doll -- which was also invited to Cannes -- before the Wachowskis picked her up for Cloud Atlas and this summer's Jupiter Ascending. But Bae hasn't forgotten her arthouse roots, and she says her lonely sojourn in Hollywood inspired her to take on the emotionally challenging role in A Girl at My Door.
"I'm so happy to be returning to Cannes with a Korean film. The last time I was there for a Japanese piece. I'm truly grateful for the invitation, because my colleagues and I really threw ourselves -- our mind and body -- into the film," Bae said.
The actress said yes just three hours after first receiving the script by first-time writer/director July Jung,  in spite of how she usually "takes forever" to choose projects. She also turned down the guarantee for the project produced by Lee Chang-dong, the Cannes-winning filmmaker of Secret Sunshine.
"I became very curious about the director after reading the script. The director's writing style was very literary and allowed you to read between the lines and imagine," she said.
In A Girl at My Door, Bae plays the role of an elite police officer who, following painful personal troubles, is transferred to a small seaside village. There she takes great personal risks to protect a 14-year-old girl from her abusive stepfather.
"It was extremely difficult to suppress my emotions, because my character in A Girl at My Door goes through so many infuriating situations. It was a lonely process having to portray someone that acts tough but is deeply hurting inside and is unable to express that," Bae said.
The actress was actually inspired by her experience on the set of Jupiter Ascending: "I was filming Jupiter Ascending [when I received the script], and I think I was very lonely. I was working in a foreign culture in a foreign country. Things can get a little lonesome in an unfamiliar environment, and I was able to relate to the [character's] solitude."
But the experience was far from a negative one. "Oh I had so much fun on the set. My Jupiter Ascending character is a bit mischievous, unlike the innocent and frail Sonmi [in Cloud Atlas]."Bae, however, plans to stick to building her filmography around Korean projects.
"Being exposed to different production environments in Korea, Japan and the U.S. was a great experience, and each system allows you to quench your thirst in a different way. I'm not partial to any system, but at the same time I'm a Korean actor so I expect to work mainly on Korean projects," she said.
There is a certain boundlessness in Korean cinema, Bae said. "Korean cinema is very improvisational, and there is a unique power that stems from this. The entire cast and crew believe 'nothing is impossible,' and we make anything happen."
Meanwhile, Bae confirmed she is dating her Cloud Atlas co-star Jim Sturgess, who accompanied her to Monday's Cannes premiere of A Girl at My Door. "Jim Sturgess is my boyfriend," she said. "He has been by my side since around the time I chose to appear in A Girl at My Door. Until now media reports said we were just friends, but those are the words of my former manager."

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class="entry-title" style="margin: 0px 0px 10px; font-family: Bitter, serif; font-weight: normal; line-height: 1.3; text-rendering: optimizelegibility; font-size: 36px; background-color: rgb(255, 255, 255);"Three Korean films highlighted at CannesThree Korean films were under the spotlight at the 67th Cannes Film Festival that ended on May 25. Theater seats during these films’ screenings were all taken, and the audience and critics alike gave a standing ovation to all of them. The three films are director July Jung’s “A Girl at My Door,” presented in the Un Certain Regard section, director Chang’s “The Target,” in the Midnight Screening section, and Kim Seong-hun’s “A Hard Day,” shown in the Directors’ Fortnight section. These directors are all relatively new, as these films are either their first or second feature film.
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“A Girl at My Door” features Bae Doo-na, Kim Sae-ron and Song Sae-byeok and deals with sensitive issues. A young policewoman, Youg-nam, is ousted and transferred to a fishing village as the chief of a police substation. She meets Do-hui, played by Kim Sae-ron, a child who has been abused by her stepfather. The officer brings Do-hui home but Do-hui’s stepfather learns about her past and puts her in danger. The film touches on the absurdities of society and on human rights issues, discussing the basic instincts and prejudices in our society. The film succeeds in catching and expressing all the details of human emotion, and the storytelling is coherent throughout, perfectly delivering the message it conveys.

At its premiere on May 19, the audience gave a standing ovation after watching the film. The press said the screenplay, acting and cinematography in the film were all perfect.

“I liked the film at first sight. It was a difficult subject to deal with, but the story is well-told with great directing,” said Christian Jeune, deputy to the general delegate at the Cannes Film Festival. “In particular, the acting was absolutely perfect. Kim Sae-ron, who plays the child, is worth mentioning. I hope to see her again at Cannes.”

“Violence is expressed and portrayed well, through sophisticated directing and great acting,” wrote the French newspaper Libération. “Shockingly beautiful images and great acting really stood out.”

Speaking of the film’s message, director Jung said, “Lonely people will be able to feel empathy with the film and with other people. If the audience sees hope in the film, that is the kind of hope it can give to the audience.”

All 825 seats were occupied during the screening of “A Hard Day,” though the premiere was early in the morning. The audience laughed and clapped, really enjoying the movie. Its story starts as Ko Gun-su, a corrupt cop played by Lee Sun-kyun, receives a divorce notice filed by his wife on the day of his mother’s funeral. As well, Gun-su is extremely agitated by the news that he is being investigated internally by the police. Then, he gets involved in a hit-and-run accident while he is driving recklessly. He tries to conceal the accident and hides the body in his mother’s casket, but he is threatened by a stranger. There’s a tension that runs through the whole film and it only gets bigger.

“This slick, dynamic, twist-heavy police thriller combines supercharged suspense with flashes of dark humor… It is a dynamic and highly enjoyable rollercoaster ride,” wrote the U.S. film magazine Hollywood Reporter.

“Refreshing and ultimately a great deal of fun, ‘A Hard Day’ finds the right balance in addressing issues such as corruption while also paying close attention to what makes a film compelling and engaging through its clever execution and witty script,” wrote the British film magazine Screen Daily. “Its opening half especially is intelligently and skillfully crafted, allowing it to break out as it premieres in the Cannes Directors’ fortnight.”

“I devoted myself to this film like I was preparing for an important state exam,” said director Kim Seong-hun. “My goal is to communicate with the audience and continue to make films.”

“The Target” is a Korean remake of the 2010 French action-thriller “Point Blank.” The film is about an ordinary doctor who is desperate to save his pregnant and kidnapped wife. An ex-mercenary killer, played by Ryu Seung-ryong, is framed for murder. The doctor, played by Lee Jin-wook, tends to the mercenary but receives a sudden attack from an assailant and follows the mercenary to rescue his wife.

“The Target” received a great response from the audience including a standing ovation at its premiere at the Lumiere Theater on May 23. Fred Cavaye, the director of “Point Blank,” was also present at the screening.

“The movie is similar to the original, but the description of each character feels different, which makes the film very interesting,” said Cavaye. “Chang is young and talented. I am satisfied that the remake is so well-adapted that it is better than the original.”

By Limb Jae-un | Korea.net HERE | May 26 2014

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[*][*]Peccadilo Lets in A GIRL AT MR DOOR[*]by Pierce Conran /  May 29, 2014[*]Cannes Drama Sells to UK[*] [*]
[*] [*]July JUNG’s debut film A Girl at My Door bowed at the Cannes Film Festival last week to positive reviews and its sales agent also sealed a deal for distribution in the UK during the week. CJ Entertainment made the sale to indie film distributor Peccadillo Pictures during the Cannes Film Market.[*] [*]Starring BAE Doo-na, KIM Sae-ron and SONG Sae-byeok and produced by Cannes Stalwart LEE Changdong, A Girl at My Door features a police captain who is forced to transfer to a remote seaside town where she begins an unusual relationship with a teenage girl, as she tries to protect her from her abusive family. The drama was screened in the Un Certain Regard section at Cannes and received positive notices from critics, particularly for its strong performances.[*] [*]Peccadillo chairman Tom Abel stated that A Girl at My Door, along with the outfit’s other Cannes acquisitions this year, would be released theatrically in the UK in 2015. The film opened last week (May 22nd) in Korea and has garnered 89,282 admissions to date, currently ranking seventh at the local box office.[*]
[*]Any copying, republication or redistribution of Kofic's content is prohibited without prior consent of Kofic.

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May 30, 2014
In Focus: A Girl at My Door
by Ha Sung-tae KOFIC

Directed by July JUNGStarring BAE Doo-na, KIM Sae-ron, SONG Sae-byeokRelease Date May 22 A woman meets a girl. The woman is a police captain and the girl is a middle school student. Because of a scandalous affair related to her personal life, the woman was relocated to a remote island. Since her arrival, the woman encounters this girl who has been physically abused by her stepfather and grandmother. This is why the woman decides to protect the girl for a short period of time. The film A Girl at My Door presents the relationship between the woman and the girl as an encounter between two minorities. A Girl at My Door is a calm yet passionate film. In the beginning, it seems to scrutinize the small town from the perspective of the foreign police captain, Young-nam (BAE Doo-na), but the story leads the audience into the middle of an intense incident. The film begins when Young-nam becomes aware of the abuses and violence practiced on Do-hee (KIM Sae-ron) by her stepfather. Her biological mother ran away and Do-hee starts to rely more and more on Yong-nam, someone who isn’t aware of all her dark secrets but wields authority as a police captain, and is similar in age to her mother. The girl is a victim of domestic violence and Young-nam is a symbol of public authority who is obliged to protect the victim. Although the story seems to present a simple relationship between the two, it flows in an unpredictable direction and creates new victims due to the intervention of Do-hee’s stepfather and Young-nam’s past. As the story approaches its final phase, A Girl at My Door portrays how cruel Korean society can be to the minorities and victims who try to survive in it. 

Anxiety is omnipresent in this beautiful film. A contrast between the pitch darkness of night and bright light of day stands out, realistically depicting rural communities. In addition, Do-hee’s old house and Young-nam’s modern one contrast with one another and further accentuate the anxiety in the movie. As people in this small village comply in accepting illegal immigrants yet abuse their status by delaying the payment of their wages, it is no surprise that the violenceagainst Do-hee occurs without any intervention. The only safe place in this dismal town for the abused Do-hee (just like the snail that Do-hee plays with in its opening sequence) is Young-nam’s house. However, her safe haven doesn’t last long. Just like Do-hee’s short summer vacation, their relationship also comes to an end. The film explains that this end was unavoidable due to the entanglement of the distorted prejudice of the villagers and the wounded heart of Do-hee, and Young-nam, who is still a minority in Korean society. Young-nam’s hand gestures in the last sequence hint at a better future, but it seems clear that the film has taken a critical position against today’s social problems. It is impossible to live under Korean society’s discrimination if you’re a minority, and only through bonding could minorities and victims stand a chance. A Girl at My Door, the debut film from July JUNG, was invited to the Un Certain Regard section of the Cannes Film Festival. Director JUNG was successful in making a powerful character drama with two actresses. Playing the mother-like protector, BAE Doo-na, who drew international attention for her roles in Linda Linda Linda (2006), Air Doll (2009), and Cloud Atlas (2012), portrays Young-nam’s tired face against social prejudice. KIM Sae-ron, playing a character the same age as her own, wonderfully expresses the subtle shadow of this ‘little monster’ who is not able to hide her anxiety, and draws sympathy from the audience. A Girl at My Door is a realistic movie that is certainly influenced by its producer, auteur LEE Chang-dong. However, director JUNG’s approach is both more kind-hearted and frank than her teacher’s. What is evident is that the Korean film industry has just discovered another rookie director to keep an eye out for. By Ha Sung-tae (Contributing Editor)

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Credit: Paul Quinn via twitter

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June 16, 2014
July JUNG, Director of A GIRL AT MY DOOR“A GIRL AT MY DOOR is a story about meeting Young-nam, a truly amazing person.” by SONG Soon-jin  KOBIZ


July JUNG, a 34 year old director with very clear and sparkling eyes, calls herself lucky and often smiled and laughed during the interview. A Girl at My Door was her first full length scenario, which was produced by LEE Chang-dong of Secret Sunshine (2007) and Poetry (2010), and featured BAE Doo-na of Air Doll (Koreeda Hirokazu, 2009) and Cloud Atlas (Lana and Andy Wachowski, 2012). The film was invited to the Certain Regard section at the 67th Cannes Film Festival. KOBIZ met the director on one rainy day for along chat, a week before the release of A Girl at My Door, near a university campus. 
 Tell us how you liked Cannes Film Festival.
It was a very strange kind of feeling. I was working in the editing room right until the previous day and I barely arrived on time at the festival. And things transformed dramatically over the night, and I was treated like a noble lady in an antique picture, you know, the kind of picture in a beautiful frame. It was really strange. And I heard so many warm words for my film in the interviews, which made me very grateful. Their first questions were mostly “does this kind of thing really happen in Korea,” but then later on in the interviews many of them got the message what I wanted to deliver in the film. Besides, in Korea, the media’s focus seemed to be the social criticism aspect of the film. Some said that I was aiming too high trying to deal with the issues of immigrant workers and child abuse. Now that I look back on my film, I guess what seemed to be natural to me was delivered to them in an artificial and ineffective way. It is a mixture of two stories: one with a helpless little girl exposed to violence, and the other with two lonely women who face different kinds of loneliness, learning to accept each other. Which one did you put more emphasis on?  Let me begin by bringing up the poster first. For the domestic version, there is Do-hee (KIM Sae-ron) in the center, and on her right and left are Yong-ha (SONG Sae-byeok) and Young-nam (BAE Doo-na). However, I believe the international version does a better job at summarizing and representing the film, where Do-hee and Yong-nam are holding each other. So I suggested that we use the international version in Korea as well but nobody would take me seriously (laughs). I had no intention whatsoever to talk about social issues like a little girl exposed to violence or the society that lets it happen. I wanted to focus on the very individual and private emotions, and in doing so, I firmly believed there will be moments where the audience can really feel and share the two protagonists’ feelings. I used many apparatuses for this objective, and they were all designed to affect the characters’ emotions.

The Korean title is Dohee-ya, but in fact, the main character is Young-nam.
The film begins with Do-hee’s story. Do-hee is mentally handicapped and needs somebody to help her. I tried very hard to find the right person for that helpful character and that was Young-nam. So this film is a story about a woman who encounters a girl with a distinctive character. Apart from the scenario, I already had parts of the story involving Young-nam beginning to understand her identity, entering the police academy, and the tragic incident that happened in Seoul, that is not very clearly described in the film. Eun-jeong (JANG Hee-jin) is her life partner and soul mate, but these two probably had many break-ups before. And by a certain occasion, Young-nam’s sexual identity was exposed to the public, which Young-nam did not deny. And now that things have changed, Young-nam declared to break up with Eun-jeong, by agreeing to move to a job posting in a remote area. When do you decide to give up on love and break up with a person that you dearly loved? This is the stance that I took to make these characters and situations.
Besides, Young-nam from Do-hee’s perspective is the type of person who never gives up on her own dignity despite everything. Young-nam is a kind of flawed character who digests her destiny and wound, and makes people around her even more lonely, but she never negates herself. Even if that gives her big burden and pain, she tries hard not to lose her own dignity, and that is the theme of this film. However, this process was ever so hard. Even I didn’t fully understand Young-nam. I wanted Young-nam to manifest her great aspects despite her clueless situation, but I was wondering myself if I could develop the story to the ending that I had visioned. Therefore, I was greatly satisfied when I was finally done with the scenario. She was like the kind of persona in a Greek tragedy, a flawed character who tried to avoid his/her fate but then finally faces it! Even as the author, I couldn’t not help but admire her. (laughs) The casting in this film is very good, to the extent you may say you were lucky.
You are right. However, I guess the casting was so good because the scenario was good in the first place (laughs). BAE agreed to be in right away after she read the scenario. I wondered why she agreed and asked her when I met her for the first time after finalizing casting. I asked her if she felt the same kind of loneliness as in Young-nam when she travelled the world by herself, packing and unpacking, and meeting strangers, and she said yes. (laughs) This very smart actress intuitively understood this character of mine right away. In addition, when she was acting, she instinctively expressed Young-nam, who is not overtly active or passive. KIM Sae-ron refused to join us at first, so we held an audition trying to find a tall and skinny girl. However, there was nobody like Sae-ron. We got a hold of her mom by chance, and she finally talked her into working with us, which made me so very much relieved.  What is LEE Chang-dong like as a producer?
Unlike what people usually expect, we do not have that close relationship between a Korean teacher and student, and he was very careful and respectful with me all along (laughs). However, this film would not have been possible without his kind help, from casting to the completion. When I was in trouble, he would come to me quietly and comfort me by showing sympathy, and when it came to criticizing, he would criticize me very specifically. What he especially emphasized was the running time. He would come and tell me, “July, the running time is 138mins, and don’t you ever forget that. I was not able to keep it, but you have to.” (Laughs) It is to be released in France as well.
Yes, this coming September. It was also sold to UK and Italy, and what I am really excited to see is the poster. They use a horizontal poster in Europe, and I have a specific still cut in my mind for the poster. By SONG Soon-jin

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June 28, 2014
Primer: 10 Essential Films Of The Korean New Wave
FEATURES BY THE PLAYLIST STAFF (full description at original source)
This weekend, after what seems like roughly a decade of delays, rumors, teases, announcements, retractions and general bloviating, Bong Joon-ho’s anxiously awaited “Snowpiercer” hits screens. Of course it seems like years, but it was in fact “only” last October, after its South Korean August bow, that the film snuck out in France (from where we reviewed it), after which it rolled out in Asia, Western and Eastern Europe, and you know, Kuwait, United Arab Emirates and Pakistan before finally coming to the U.S., marking one of the stranger international release strategies for a genre picture starring a recognizable American action star in recent memory. Might it be the only Chris Evans film ever to open in Mongolia three months before the U.S.?
Of course, we’re being a little facetious: “Snowpiercer” may indeed feature Captain America (along with Jamie Bell, Tilda Swinton, Octavia Spencer and John Hurt among the more familiar faces), but it’s hardly a Chris Evans vehicle. In fact, it’s probable that its surface similarity to an easy-to-market popcorn flick (Hollywood star, comic book provenance, high-concept sci-fi) proved one of the contributing factors to the confusion and prevarication around its release: as any of us who’ve seen it can attest, it is definitively not a straight-up popcorn flick, and it’s possible that the Weinsteins envisaged flaming torches and pitchforks from irate moviegoers raging that they’d been sold an arthouse experiment under the guise of a sci-fi blockbuster. Because it really is very weird — in a way that will delight cinephiles, but that may well leave more mainstream audiences scratching their heads. So it is probably about right that it’s opening limited (and thankfully — or perhaps not — uncut), that “Transformers: Bombastic Subtitle” will siphon off the majority of of the “WTF dude?” brigade and that the name above the marquee is most definitely that of its Korean director, Bong Joon-ho.
Bong already has an international profile, mainly based on the breakout arthouse success of the equally odd, genre-fusing mindfuck that was “The Host” (not to be confused with last year’s terrible Saoirse Ronan YA adaptation unless joyless timesucks are your thing). But he is also part of a generation of Korean directors (at this point almost exclusively male, at least those who have found a measure of international distribution, though 2013's Busan Film Festival did spotlight several first-time female directors so hopefully some green shoots there) who came of age just as newly democratic South Korea started to blossom culturally and artistically. Bringing both a broad appreciation of genre cinema and a uniquely Korean perspective, along with poster child Park Chan-wook (“Oldboy”), Lee Chang-dong, Hong Sang-soo, Kim Ki-duk and Kim Ji-woon, Bong is at the forefront of the so-called Korean New Wave (which also spawned adorable neologism “Hallyuwood” with “Hallyu” roughly translating as “flow from Korea”), which was seeded in the mid-90s but really started to thrive, and to gain international recognition in the 00s. More recently, as “Snowpiercer,” Park Chan-wook’s “Stoker” Kim Ji-woon's English-language debut "The Last Stand" and last year’s “Oldboy” remake prove, Hollywood has caught the K-wave bug, so for those of you who are wondering where to begin, here’s a handy starter pack of 10 films, featuring all the aforementioned directors, and those titles of theirs we feel can give the best overview of the thriving and ever-expanding Korean New Wave. And if you're in New York, here's five movies to check out at the upcoming Asian Film Festival.
“Joint Security Area” (2000)
“Save The Green Planet” (2003)
"Memories of Murder" (2003)
“A Tale Of Two Sisters” (2003)
“Spring, Summer, Fall, Winter...And Spring” (2003)
Park Chan-Wook's "Vengeance Trilogy" (2002, 2003 & 2005)
“The Host” (2006)
"I Saw The Devil" (2010)
"Poetry" (2010)l
“Nobody’s Daughter Haewon” (2013)
Also Worth Checking Out: Rounding out the leading pack of the Korean New Wave is one director we haven't covered above: Im Sang-soo whose 2010 film "The Housemaid," a loose remake of the recently rediscovered 1960 film from veteran director Kim Ki-young played In Competition in Cannes and was widely distributed on the arthouse and festival circuit. An interesting inversion of the social dynamic of the original, in which a conniving unbalanced female servant seduces, blackmails and ultimately destroys a family man, Im's film switches that around to become a pointed indictment of bourgeois family values in which the housemaid is the innocent and the family her tormentors. Notorious also for its explicit sex scenes and undercurrents of sado-masochism, the lurid and at times overwrought melodrama does reveal Im's ongoing preoccupation with class and Korean society, which he explored to lesser effect in 2012's "The Taste of Money" and which got him into hot water back in 2005 when his film "The President's Last Bang" was the subject of a lawsuit due to its scathing serio-comic portrayal of the real-life 1979 assassination of President Park Chung-hee by his Korean CIA chief.
As we mentioned this is all just a taster of a movement that is growing expanding and travelling further with each year, even spawning its own subgenres and imitators. And there are some major titles we didn't cover here which are good suggestions for further viewing if this has given you a taste. Other names to look out for include Kang Je-kyu, especially his 2004 brothers-divided-by-war epic "The Brotherhood of War," Na Hong-jin's slick, nasty cop thriller "The Chaser" from 2008, frenetic 1999 action thriller "Nowhere to Hide" from Lee Myung-se, 2001 romance "Failan" from Song Hae-sung, which shows a softer, subtler side to Korean superstar Choi Min-sik ("Oldboy" himself), and Korea's own biggest homegrown blockbuster 2001's "My Sassy Girl" from Kwak Jae-wong which has already spawned the ultimate Hollywood compliment in the form of an awful remake starring Elisha Cuthbert.
And of the directors we have covered, there will no doubt be those aghast that we didn't include Kim Ji-woon's entertainingly gonzo but wildly uneven "The Good The Bad & The Weird" or 2005's terrific mob crime film "A Bittersweet Life," (a U.S. remake of which is currently in the works from Allen Hughes), Hong Sang-soo's "In Another Country," "The Woman on the Beach" or "Turning Gate," and Park Chan-wook's vampire priest yarn "Thirst," while Lee Chang-dong's "Peppermint Candy" (mentioned above) and Bong Joon-ho's "Mother" and "Barking Dogs Never Bite" are both strong early entries to the canon, the latter starring Bong regular and "Cloud Atlas" standout Bae Doona.
But seriously, this list could be about five times as long and not run out of interesting titles, so let us know if which Korean New Wave films have made the deepest impression on you, and which you'd recommend most as entry-level movies for the neophyte, in the comments section. --Jessica Kiang & Oli Lyttelton

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July 3, 2014 (BDN related excerpt)
Korean celebrities engaged in cross-border romanceshttp://www.koreaherald.com/view.php?ud=20140703001144


Actress Bae Doo-na officially confirmed that she is dating British actor Jim Sturgess on May 20 at the Cannes International Film Festival. The couple has been together for two years. 
Rumors of a romantic relationship between Bae and Sturgess had been circulating ever since the two costarred in the Wachowskis’ Hollywood blockbuster “Cloud Atlas” in 2012. Their frequent meetings stirred up rumors that the two were dating, which Bae’s former manager dismissed as groundless. After the relationship became public, Bae claimed that the denial came from the former manager and not herself. 

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'Cloud Atlas' Star Bae Doona's Chic Airport Look
[by Cho Suyoun] Bae Doona was seen at Incheon International Airport on July 14.
Bae Doona, who successfully debuted in Hollywood through Wachowski's film 'Cloud Atlas,' left for the U.S. again to shoot American series directed by Wachowski brother and sister.
On this day, Bae Doona put on simple black skinny jeans with military walker to complete her chic and stylish airport look. 
The drama series that Bae Doona is participating in is the 3rd work that that she's doing with Lana and Andy Wachowski. The 1st season will be aired in September. (photo by Louis Vuitton)
contact: news@bntnews.co.uk

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July 18, 2014
Bae Doo-na reveals sexy sporty look
Source: The Korea Herald
The actress Bae Doo-na revealed a sexy, sporty look in a photo shoot with the magazine ELLE. 
Bae matched a tank top dress with sports wear.
More photos are available in the magazine August’s issue. 

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JULY 18, 2014
BAE DOO NA IS PACKAGED IN ADIDAS FOR ELLE KOREA’S AUGUST 2014 EDITIONhttp://couch-kimchi.com/2014/07/18/bae-doo-na-is-packaged-in-adidas-for-elle-koreas-august-2014-edition/

In the August edition of Elle Korea, Bae Doo Na dudes up in Adidas attire while she lounges amidst a clutter of crates, bubble wraps, and cardboard boxes.
Check it!



Source  |  Newsen

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itemprop="name" class="entry-title" style="margin: 10px 0px 7px; font-family: 'Roboto Condensed', sans-serif; font-weight: normal; line-height: 37px; color: rgb(68, 68, 68); text-rendering: optimizelegibility; font-size: 30px; word-wrap: break-word; background-color: rgb(255, 255, 255);"Bae Doo Na showcases fall makeup trends for ‘HIGH CUT’

Actress Bae Doo Na recently made the cover of Issue 133 of ‘HIGH CUT’ fashion magazine, where she showcased the latest fall makeup trends from famous brand, Giorgio Armani.

In her 6-page pictorial, Bae Doo Na displayed the fall makeup trends, through various shades of lipstick which showed off her elegance and maturity.

Bae Doo Na revealed in the accompanying interview that she is currently filming American science fiction drama series ‘Sense8,’ which will be streamed on Netflix in 2015. There will be five seasons in total, starting with one each year from 2015.

The actress said, “We are now filming in Iceland, and will be going to Nairobi in early September and film for about 10 days. We will then head to Seoul in mid-September, and then film until the end of the month. Filming will also be carried out in Berlin, Mumbai, and Mexico City.”

‘Sense8′ follows eight characters around the world who find themselves linked to each other mentally and emotionally, and work together to solve problems. Bae Doo Na revealed that the drama series isn’t about super heroes or good vs evil. It’s just by coincidence that they have the ability to talk and see each other as if they were in the same place. Each episode will feature and focus on one character and their story.

Bae Doo Na also introduced her character, “She is a Korean businesswoman whom I had never played before. She manages the finances of her father’s company, and is of the CEO level. She fights really well as she had been learning the ropes since she was little.”

The actress also revealed the reason for her not keeping long hair, “I do want to (keep long hair). But after keeping long hair while I’m on hiatus, I would then have to cut it due to the requirement of my role. It takes 2 to 3 years for me to keep long hair, but I basically film a movie every 1.5 year.”

By: Oh Soo Kyung
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