Laily UPN
As the cinematic world turns its gaze toward South Korea, the 31st Busan International Film Festival (BIFF) has solidified its reputation as both a sanctuary for artistic introspection and a powerhouse for industry innovation. This year’s edition, scheduled to run from October 6 to 15, is set to bridge the gap between historical reverence and future commercial potential, highlighted by its prestigious "Carte Blanche" program and a significantly expanded Asian Contents & Film Market (ACFM).
The Carte Blanche Program: A Window into the Masters’ Minds
The centerpiece of this year’s festival programming is the "Carte Blanche" selection. A term synonymous with total creative freedom, the program invites cultural luminaries to curate titles that have fundamentally shaped their artistic sensibilities. By selecting films that define their own relationship with the medium, these icons offer attendees a unique, intimate look at the influences behind some of the most celebrated works in modern cinema.
Fan Bingbing: Deconstructing the Female Experience
Global icon and actress Fan Bingbing, known for her commanding presence and extensive work as a festival juror, has chosen Park Chan-wook’s masterpiece, The Handmaiden. For Fan, the film represents the pinnacle of narrative complexity.
"The Handmaiden weaves together desire, deception, and power through its exquisite aesthetic," Fan remarked. "The women captured through Director Park’s lens are both dangerous and free. I was deeply captivated by its clarity, boldness, and vitality." Her choice highlights a shift in contemporary discourse—focusing on how female protagonists navigate the constraints of fate, transforming their own predicament into a narrative of agency and self-liberation.
Kim Jee-woon: Returning to the Source of Instinct
Director Kim Jee-woon, a titan of Korean genre-bending cinema, has opted for George Miller’s original Mad Max. Having helmed visceral, highly stylized works like A Tale of Two Sisters, A Bittersweet Life, and the recent Cobweb, Kim’s choice reflects his deep-seated appreciation for raw, instinctive storytelling.
Reflecting on the 1979 classic, Kim noted, "It is the beginning of a great legend and the wildest, toughest, and most instinctive film in the entire series. The shock and fear I felt from the sheer force of its energy when I first saw this film are still vivid. It is a film that proves what true ‘cinematic cinema’ can be." Kim’s selection serves as a testament to the enduring power of visual momentum over dialogue, a trait he has frequently explored in his own storied career.
Hong Kyung-pyo: The Language of Color and Solitude
Renowned cinematographer Hong Kyung-pyo, the visual architect behind global hits like Parasite, The Wailing, and Snowpiercer, turned his lens toward Krzysztof Kieślowski’s Three Colours: Blue.
For Hong, the film is a masterclass in emotional topography. "Every time I watch Three Colours: Blue, the loss and solitude captured in its blue hues feel new," he explained. "It reminds me once again of how deeply images can convey emotion." His selection underscores a recurring theme in the festival’s curation: the belief that the most profound human experiences are often communicated through silence, atmosphere, and color, rather than exposition.
Chronology of the 31st BIFF and ACFM
The festival operates on a carefully orchestrated schedule designed to balance public screenings with high-level industry deal-making.
- October 6: Official commencement of the 31st Busan International Film Festival at the Busan Cinema Center.
- October 6–15: Ongoing public screenings, panel discussions, and Carte Blanche retrospectives throughout various venues in Busan.
- October 10: The 21st Asian Contents & Film Market (ACFM) opens its doors. A key highlight of this day will be the dedicated pitching session for the five Thai titles selected for the newly inaugurated Remake IP section.
- October 10–13: Business meetings and networking events for the Busan Story Market (BSM), allowing producers and creators to negotiate adaptation rights.
- October 15: Closing ceremonies of the 31st BIFF, signaling the end of the festival’s primary slate.
Expanding the Horizon: The Busan Story Market (BSM)
Beyond the red carpets and retrospectives, the business of cinema remains a pillar of the festival. This year, the Busan Story Market (BSM)—the industry hub operated by the ACFM—has undergone a strategic expansion. By adding nine new titles across two distinct tracks, the market is signaling its intent to become the primary clearinghouse for intellectual property (IP) in Asia.
The Remake IP Section: A Strategic Debut
The introduction of the "Remake IP" section marks a milestone for the ACFM. Designed specifically to trade the rights for completed films to be adapted for new markets, this section debuts with Thailand as the inaugural "Country of Honor."
The selection includes:
- Midnight Incense (2026, Horror/Mystery/Drama): A chilling exploration of mystery and cultural superstition.
- Happy Monday(s) (2025, Comedy/Drama): A lighthearted yet poignant take on modern work-life balance.
- Home for Rent (2023, Thriller/Horror): A high-tension genre piece that has already garnered significant attention for its narrative twists.
- My Boo (2024, Romance/Comedy/Horror): A genre-blending film that demonstrates the versatility of contemporary Thai cinema.
- Congrats My Ex! (2023, Romance/Comedy): A wedding-centric comedy poised for international adaptation.
Hong Kong IP: Animation and AI Frontiers
Simultaneously, the Hong Kong delegation, supported by the Cultural and Creative Industries Development Agency (CCIDA), has introduced four diverse projects. The focus here is on multi-platform potential, with organizers looking for properties that can transition into animated series, feature films, or digital content.
- Blacky the Metal Arm Cat: A high-concept action drama featuring a warrior displaced by alien technology.
- Cirkillation: A suspense-heavy drama utilizing stylized animation techniques.
- Disposable Dolly: A cutting-edge comic centering on an AI detective, tapping into the zeitgeist of technological ethics and existential mystery.
- Tai Lung Fung – Full Throttle Kitchen: A family-oriented fantasy drama set within the high-stakes environment of a professional kitchen.
Official Responses and Industry Implications
The expansion of the Busan Story Market is more than a logistical update; it represents a fundamental shift in how Asian cinema is consumed and remade. By formalizing the "Remake IP" track, the festival is providing a structured, secure environment for international studios to acquire the rights to localized hits.
"The goal is to ensure that stories from Thailand or Hong Kong are not just seen by a local audience, but have the infrastructure to be reimagined globally," said a festival spokesperson during the announcement. Industry analysts suggest that this move could turn Busan into the premier "rights hub" of the East, effectively decentralizing the acquisition market that has traditionally leaned heavily on Western markets.
Furthermore, the inclusion of AI-focused narratives like Disposable Dolly highlights the festival’s commitment to staying ahead of technological trends. As the industry grapples with the integration of AI in production and storytelling, showcasing works that lean into these themes—while keeping the core focus on human drama—positions the BIFF as a forward-thinking entity.
Conclusion: The Enduring Legacy of Busan
As the 31st edition of the festival approaches, the synergy between the artistic "Carte Blanche" program and the hard-nosed commercialism of the Busan Story Market creates a unique ecosystem. The festival continues to honor the "cinematic cinema" lauded by directors like Kim Jee-woon while ensuring that the industry surrounding it is robust, adaptable, and increasingly global.
From the blue hues of Kieślowski to the high-throttle kitchens of Hong Kong and the supernatural mysteries of Thailand, the Busan International Film Festival remains an essential nexus for the global film community. Whether one is a cinephile looking to revisit the classics or a producer seeking the next big adaptation, the 31st BIFF offers a roadmap for the future of visual storytelling—one that is grounded in the past, yet relentlessly pushing toward the horizon of what is possible in film.
Reynand Wu
Layla Zulfa
