※ The contributions of external writers may differ from the opinions of KoBiz & KOFIC, and they do not represent the official views of KOFIC. 

(29th Busan International Film Festival Official Poster) 

Understanding BIFF’s place within the broader Asian film festival circuit is key to contextualising its current situation. Alongside other major film festivals in Hong Kong, Shanghai, Singapore, Taipei, and Tokyo, BIFF must carve out a distinctive identity while simultaneously working toward the collective goal of promoting Asian cinemas. However, the challenges BIFF faces extend beyond its content and politics. The festival must also respond to evolving media consumption trends while upholding its reputation for cinematic excellence. 

In light of these pressures, the 29th edition of BIFF presents a carefully curated lineup that merges cinematic endeavours with acute political awareness. Opening the festival is Uprising, directed by Kim Sang-Man and produced by renowned filmmaker Park Chan-wook, which signals a powerful message. This selection recalls the festival’s 1996 debut, which helped to elevate the careers of

Korean New Wave filmmakers like Bong Joon-ho and Park Chan-wook. Uprising not only explores the impact of war on two childhood friends turned enemies but also addresses broader themes such as class conflict and Korea-Japan relations, reflecting BIFF’s continued dedication to showcasing socially conscious cinema. Additionally, with the inclusion of Netflix-distributed films and K-drama premieres—a continuation of a 2023 initiative—BIFF demonstrates its openness to both traditional cinema and digital platforms, acknowledging the wide range of Korean visual storytelling across different media. 

(Still from Uprising. Courtesy of Netflix) 

At the heart of the festival is the prestigious "Jiseok" competition, named in honour of BIFF’s late program director, Kim Jiseok. This year, the spotlight is shared by South Korea and Japan, each with two entries: I am Love by Baek Seungbin and So It Goes by Lee Harum from Korea, and Aimitaga by Kusano Shogo and Travelling Alone by Ishibashi Yuho from Japan. Complementing this East Asian

focus is Taiwanese director Tom Lin Shu-Yu’s Yen and Ai-Lee. Extending the festival’s geographic reach, Deal at the Border by Kyrgyzstan’s Dastan Zhapar Ryskeldi brings Central Asia into the fold, while Southeast Asia is represented by Motherland by Brillante Mendoza from the Philippines, and South Asia by Rima Das’s Village Rockstars 2 from India. This thoughtfully curated selection underlines BIFF’s commitment to cross-cultural dialogue through cinema, bridging historical and political divides while celebrating the rich diversity of Asian filmmaking, from East Asia to South and Southeast Asia.

While BIFF emphasises a strong global presence in competition, it also remains steadfast in its

celebration of local talent and its rich cinematic heritage. This year’s festival features 24 Korean feature films across sections such as "Special Premiere," "Panorama," and "Vision," as well as a dozen shorts in "Wide Angle." Cinematic luminaries like Hong Sang-soo are given their due, with both his latest work A Traveller's Needs (2024) and the earlier Our Sunhi (2013) gracing the screens. Korean cinema further occupies significant spaces across various sections, with nine feature documentaries highlighting the nation’s impressive cinematic output. A special tribute to the late actor Lee Sun-Kyun, with five films commemorating his cinematic contributions, further deepens the emotional resonance of this year’s festival, affirming BIFF’s dedication to celebrating Korean filmmaking.

Despite the strong emphasis on domestic talent, BIFF remains firmly rooted in a global context. The festival’s gaze extends beyond the Korean peninsula, as evidenced by the selection of Singaporean auteur Eric Khoo’s Spirit World (2024) as the closing film. A co-production between Singapore, Japan, and France, the film stars Catherine Deneuve as legendary singer Claire Emery, who flies to Japan for a final sold-out concert, but as the show comes to an end, so does her worldly life. This selection not only highlights BIFF’s commitment to Southeast Asian cinemas but also marks a growing trend in regional industries toward cross-border creative and financial collaborations. As national cinemas become more interconnected, the festival lineup demonstrates an awareness of how these transnational partnerships are reshaping the global film landscape, making traditional notions of cinema tied to a single nation increasingly complex.