Korean Cinema Today

In Front Of The House

admin — Tue, 17 May 2011 01:35:52 +0000

International Critics’ Week – Short

Directed by LEE Tae-ho

By LEE Hwa-jung

The film starts off like any other romantic movie about two inseparable love birds in their twenties. Hyung-joo puts together a home-made lunchbox for his girlfriend Yeon-hee. Before closing the lid, he completes the lunchbox by drawing a heart with ketchup sauce on the grilled sausages he has happily prepared for his loving other-half. But to Hyungjoo’s disappointment, Yeon-hee is not impressed. he even pulls out pricey entrance tickets to a theme park, but he boldly rejects his presents and says he has other commitments.

The viewers will naturally wonder why Yeon-hee turns down Hyung-joo’s efforts to win his heart. A typical romance genre film may have ushered Yeon-hee to fall in love with another man. But In Front of the House is more than just a typical love story. The plot twist kicks in when the suspicious Hyung-joo quietly follows Yeonhee after they quarrel. Hyung-joo’s doubts are soon outrun by a sense of shock when he sees that Yeon-hee is headed to a place that he least expected. The girl he has been shadowing stops when he arrives home at a run-down shelter in the middle of a shanty town.

For many, the title In Front of the House may carry romantic connotations, as the location often relates to kisses goodbye after memorable dates. But in the capitalist world that we live in, one’s front porch symbolizes more than just rosy “butterflies-in-the-stomach” emotions. In fact, where you live can indirectly represent your wealth and social status. What Hyung-joo witnessed was not simply Yeon-hee’s house but also his poor living standards, unimaginably poor to a middle class apartment dweller like himself.

Suddenly for Hyung-joo, pure love for Yeon-hee seems not enough to fill the social wealth gap that he did not know existed between them. After Hyung-joo’s secret discovery, he can no longer bring himself to face Yeon-hee the same way. And that is where the movie ends. The last scene shows Hyung-joo staring blankly at his flashy apartment in the distance while standing next to the run-down slums a symbolic snapshot that captures the wealth gap still evident in the capitalist era of the 21st century.

Finis Operis

admin — Tue, 17 May 2011 01:26:13 +0000

International Critics’ Week – Short

Directed by MOON Byung-Gon

By LEE Hwa-jung

“If you are willing to survive, you will die. But if you’re willing to die, you will survive.” As captured in this Korean saying spoken by Admiral YI in the 16th century, life and death may not be destined to be a matter of personal will. MOON captures this irony in a whimsical tone in the film “Finis Operis”. The viewers are able to take a peek into an old man’s day as he busily prepares for his death with firm determination. Tools needed to aid his suicide, which he ordered for himself, are delivered to his house. he scrutinizes each item before jumping into the tub for his very last bath. his master plan is to hang himself in the living room. The old man meticulously plans out each step in his head.

Does he succeed? Unfortunately, at the pinnacle of his suicide attempt, he comes face-to-face with a basic human desire-the uncontrollable libido. his penis pops out through the zippers of his dress pants, and he is struck with utter surprise. And at that very moment, the well-fastened hook in the ceiling dismantles and he is given a new life.

The scene could have been a tragic moment leading to the only character’s death. But his failed attempt at ending his life triggers laughter instead. This laugh is probably closer to a bitter smirk at the irony of life than a burst of hysterical laughter. The humor created solely by the irony of the situation, and no words, almost resembles the humor code common in characters of Aki KAURISMAKI’s films.

MOON does not reveal why the old man wishes to end his life. But when looking at the way he carefully prepares and executes his plan to die, one could hope that the old man may overcome whatever agony in life if he were to pour the same level of effort into life itself. Finis Operis may be short, but it has enough power to allow the viewers to look life in retrospect. Another interesting point about this movie is that it was filmed in a small indoor space with minimal shooting. Canon DSLR 7D, a camera that is commonly chosen to shoot movies more recently was used to film the piece.

Fly by Night

admin — Tue, 17 May 2011 01:20:01 +0000

Cinéfondation

Directed by SON Tae-gyum

By LEE Hwa-jung

How is one’s sexual identity formed during puberty? The film Fly by Night questions the true meaning of sexual identity through the eyes of a young boy experiencing a difficult adolescence. The young boy is used to selling himself to older men. One client said he would pay more for having sex without a condom. But after sex, the man confesses that he doesn’t have enough cash. The client promises to pay the boy the next day and sends him home. The next day, the boy evades his elder brother’s eyes to meet the man who owes him money. Upon their second encounter, the young boy makes a suggestion. he asks if they can start a serious relationship, instead of having to sell his body.

The boy in Fly by Night is young. It can be assumed that he probably lost his mother recently, and is living a poor life with his only brother. From a distance, his situation does not seem very different from other boys his age who have poor living conditions. he gets upset when his brother confiscates his mobile phone because of unpaid bills, and gets scolded when he is caught smoking. But the true difference between the boy and his peers is that he is a minor having sex with an older person of the same sex. The film focuses on the dual life of this young boy. The important thing is, SON does not try to set apart the boy’s life from other typical boys his age. When the boy hesitates before saying something to the man, the viewers would naturally expect him to ask for more money so that he can cover his phone bills. Instead, he asks “would it be strange if we dated?” Although their relationship centers on money, the boy believes he can share his worries with the man by asking him to be his boyfriend. But instead of asking him keenly, he is more worried if this relationship would be considered strange according to social norms.

The film tries to take a look at how homosexuality, a special kind of sexual identity, is perceived differently based on the environment or other external factors. For a poor boy, sympathy and comfort does not require big favors. A simple stick of lip balm lent by the man can be all that it takes to feel understood. During confused times and a difficult adolescence, what he needs is that kind of simple consolation rather than unconditional scorn. At first the homosexuality illustrated in Fly by Night may seem degrading and wrong, but it still deserves to be analyzed in a fresh light.

GHOST

admin — Tue, 17 May 2011 01:15:13 +0000

Short Competition Section Directed by Dahci MA

By Jang Byung-won

LEE Jeong-jin (aka Dahci MA), director ofthe movie “Ghost” has a peculiar talent ofmaking people confused. First she startswith her name, preferring to work asDahci MA, instead of her real name LEEJeong-jin. “School was never my thing andsince grade school I had wanted to be outof there.” She got her wish and left schoolafter finishing first year of junior high.As she “had no intention of going backcontrary to the wishes of her family whichwanted her to at least go to high school,”she turned to the world of cinema, partlybecause she had to find something toreplace school. This is when she directed5 short films by putting together “movielikestuff I made fur fun”, and every singleone of them has a different style. Shortfilm “Nevertheless” (2005) she madewhen she was 18 was invited to variousfilm festivals and another short piece shemade at 21, “The Mysteries of Nature”(2008) was awarded with Jury Prize atNew York’s Dance on Camera Festival asthe youngest director ever to receive theaward.

Ghost is a bizarre film that showssuch features of LEE as well. The movietalks about slums that are about to bere-developed. But the slum from themovie does not share common definitionof ‘a place where new apartments willbe built after old, out of date houses arebroken down.’ Rape murder case occursat the teardown site. While its residentsand the police are obsessed with findingthe one who did it, the criminal slipsthrough the investigation and disappears.On TV the news says the police havecaught the guy, but crying voices of a girlstill echo on the streets. In Ghost we meetthe phantoms: voices of those who livedthere, voices of those who died there,and the faces of gloomy ghosts who stillreside there.

Slums from Ghost are not spacesthat can be converted into dynamicsof urban space or economic value. Thedirector gave out a piece of paper to thestaff that summarizes the direction ofthe film. It read ‘Bizarre-Subtle-Vague’.As so Ghost features grotesque looks,mixing up foreign factors that refuse tobe put together. Once again the movieis impossible to be defined as a unifiedcharacter, just like her previous shortfilms that vetoed consistent style, somuch that some even questioned whetherthey were all indeed made by the sameperson. Sill montages of the slum thatfill up the prologue and epilogue pacesaround the boundary of experimental anddocumentary films.

Although its characters or backgroundare unrealistic, Ghost was inspired byan actual event. Director LEE Jeongjindrafted the story from an experienceof a “1 month trip to Busan in 2010 thatwas all about redeveloping slums” anda rape-murder case that occurred inBusan. By shooting the film at an actuallocation where the crime took place,Ghost urges you to imagine the storybehind this horrible case. It is obviousmuch effort was put into using the soundas its composition of audio-visual image isindeed unusual, such as using superficialsounds (for instance the openingsequence of excavator making screechinglike a monster), descriptive sounds thatenforce the image, as well as collision andcounterpoint of image and sounds.

The narrative of Ghost , where evidentreality and grotesque surrealismform the two sides of a coin, refusesthe conventional method of cinemainterpretation but little by little breaksdown the film from inside. “It is myconsistency to have no style, thatprevents people from predicting the nextstyle I’ll come up with,” says LEE and itis quite likely that she will become anartist of deviation who have no interest infollowing other people’s footsteps. Aboveall, her attitude that tries to converse withthe side beyond a section of life throughskillful weaving of multimedia imagesraises expectations for a fast actions fromhenceforth.

Arirang

admin — Tue, 17 May 2011 01:10:44 +0000

Un Certain Regard Directed by KIM Ki-duk

By KIM Ki-duk

Arirang is

about KIM Ki-duk

playing 3 roles in 1.

Through Arirang I can climb over any obstacles in life.

Through Arirang I can understand human beings, be

thankful of nature, and acknowledge my life as it is now.

We are now…

in the terrestrial world lurking with desires,

in the ghostly world lurking with sorrow,

in the imaginary world lurking with dreams,

with no beginning nor end,

slowly going crazy.

What is the affection that still remains all around me

decaying?

It is still stuck to the crown of my head, testing my

emotions.

It is still hiding deep within my heart, testing my sense of

compassion.

If I didn’t give my heart, the wicked would be erased from my

memories, but if I gave my heart, I wouldn’t forget them until the

day I die.

Ah…

Arirang

Alright

Let’s

Mercilessly kill each other in our hearts till we die.

Even today

I hold back as I get angry

I laugh as I get jealous

I love as I despise

And forgive as I quiver with the urge to kill.

Wait

I will kill

myself, because of those who I remember

Interview with NA Hong-jin

admin — Tue, 17 May 2011 01:01:14 +0000

You started to prepare the production of The Yellow Sea right after The Chaser .

I was thinking of having a rest for a while, but one of my seniors told me, “keep working, you are young.” So, I felt to do something. But, I didn’t have a special interest in the matter of Yanbian or the ethnic Koreans. Using A Murderer as its working title and as a research process went on, I realized the atmosphere and reality of the society over there.

What was your first impression on Yanbian? How did you research about the ethnic Koreans?

I just picked up a backpack and went to Yanbian by train. And then I lived there for 2 months. I had to sit long in a stifle train to get there, like the scene Gu-nam sleeping in a train to Dalian, during the long travel, I was able to feel something an overall mood or emotion. And I was more surprised upon arriving Yanbian, because I imagined something “yellowish” like “the Yellow Sea”, but it was grayish all over the city. But it seemed to make me more interesting. I begun to listen to ordinary people there, they looked to me at the first time, as we met more often and drink together, they begun to open and told me many stories.

How was the production in China?

In fact, the portion of the scenes shot in Yanbian is not that much in the film. Due to an unexpected situation, we moved to Qiqihar, 2 hours from Harbin, to shoot the most of the scenes. There are many ethnic Koreans living in the city too, the city has more decorations and a more cinematic feeling like noir than Yanbian.

While preparing The Yellow Sea , were there any images or instant strong impressions you felt or that captured you?

I was captivated by the eating scenes. I think all basic instincts come from a matter of eating after all. For example, the scene while long waiting for the crucial moment, Gu-nam goes to a convenient store to eat a cup noodle, the scene when he devours kimchi from the refrigerator after starving a couple of days, and the scene where Myun and his team eat beef. Those eating scenes still remain fresh in my mind.

How Gu-nam ended up in the Southern city of Korea, Ulsan, from China remains unexplained?

People usually assume that the illegal immigrants might end up in Inchon, or Gunsan, the western cities of Korea. But that wasn’t true. Due to too many coast guards in the west, many illegal immigrants usually go around to the south. Also, there is an intention not to inform the illegal immigrants of their destination. They have to stay about 10 days stuck in a fish room (a storage room for fish caught) from China to Ulsan. I heard once that all illegal immigrants died from suffocation due to the fish room window being mistakenly closed.

From the scene Myun steps into the hotel room naked, with a violent expression.

I wanted to make that scene something odd by combining a viewpoint shot with a third point of view. I wanted to change the entire tone of the film from that scene, like a flash moment that changes the track, and replaces it with another emotion by getting removing reality from the film. It looks a little too excessive, but I must have the scene to explain the nature of Myun character. I wanted to make the scene like one from an old samurai film or yakuza film. I was told the scene reminds people of 2001: Space Odyssey when Myun picks up a bone, instead of an axe.

It looks like there were many different styles in the action sequences?

I worked with YOO Sang-sub, a martial art director from the Seoul Action School, once again after The Chaser . his contribution to The Yellow Sea was huge, so a third component of this film was YOO’s.

While working on The Yellow Sea , did you ever think you would do what you didn’t do or finish from The Chaser ?

Never, it’s like an already finished game. I rather thought that I’d never repeat what I did in The Chaser . The actors are the same, HA Jung-woo, KIM Yun-seok, but I thought there was no similarity between the two movies. And I thought that I only needed to focus on The Yellow Sea itself.

The Yellow Sea

admin — Tue, 17 May 2011 00:53:30 +0000

Un Certain Regard Directed by NA Hong-jin Cast HA Jung-woo, KIM Yun-seok, CHO Seong-ha

By Ju Sung-chul

The success of The Chaser has lingered in the aftermath for a long time. Since the huge hit of The Chaser , a number of thriller genre films, The Man from Nowhere , I Saw Devil and The Unjust have been introduced and the desire of directors and actors on making a firmer and stronger films has been a trend in the Korean industry. And The Yellow Sea seems to complete the trend and flow in the industry at peak done by NA Hong-jin himself, who started the trend.

Gu-nam (HA Jung-woo) who drives a taxi in Yanbian, China, living in a desperate situation with debts and a wife who went to Korea 6 months ago to earn money. Meeting Myun (KIM Yun-seok) at a gambling room, Gu-nam is offered a job to kill a man in Korea which will pay off his debt. So he decides to cross the Yellow Sea in hopes of finding his wife and paying off his debt. From then on, the storyline goes almost into real time as similar as NA did in his debut film The Chaser . While Jung-ho runs through the city nightlong to stop a murder in The Chaser , The Yellow Sea follows Gu-nam practicing several times for planning his hit and chasing the traces of his wife at the same time almost in real time. So, the tension increased by employing the real time technique is one of the crucial elements making up NA’s style.

The most different aspect between The Chaser and The Yellow Sea or the most impressive virtue of The Yellow Sea is a unfamiliarized viewpoint. Gu-nam has no longing to go to Korea, no relatives or memories, and doesn’t even listen to Korean music. No sense of belonging to his “Homeland” and Korea is a just dirty land to him, where his innocent wife got lured and into having an affair.

So, compelling violent scenes in the film are not horrible moments, rather, the most horrible moment is the bewildered feeling of desolation when he looks up a map to find a way to Ulsan, a Southern city of korea in the mountain covered with snow as being chased by police. The film follows how Gu-nam changes in a desperate situation and adapts to it to survive. Who else would treat their characters with as much brutality? The Yellow Sea goes the full distance.

Proust Questionnaire for director HONG Sangsoo

admin — Tue, 17 May 2011 00:48:31 +0000

Known as a director whose films appear ordinary on the surface but reveal complex and often uncomfortable truths about relationships between people, HONG Sangsoo was born in 1960 in Seoul. he studied film at Chungang Univervisty and later received a BFA from the California College of Arts and Crafts and an MFA from the Art Institute of Chicago, and spent a few months studying at the Cinematheque Francaise in Paris.

It was with The Day The Pig Fell In The Well that he made an award-winning debut in 1996. he returned two years later with The Power Of Kangwon Province , another film with characters traveling and going over relationships, and established himself as one of the most solid and notable Korean filmmakers of his time.

Despite low domestic attendance, his arthouse films have always travelled and sold well abroad. With his own production company Jeonwonsa, HONG has been making films with great regularity – at least one every two years and sometimes even twice a year. In 2010, which was such a year, Hahaha closed the Cannes Un Certain Regard section while Oki’s Movie , was the Closing Film for the Venice film festival’s Orrizonti section.

At time of press a few weeks before Cannes, the quote-sensitive director HONG Sangsoo prefers not to talk about The Day He Arrives before its premiere. But for those interested to hear from the director of so many seemingly personal films, he was not averse to replying candidly to a “Proust Questionnaire” that Korean Cinema Today put to him.

What is happiness to you?

Carelessness of heart.

What are you most afraid of?

When my mind is going crazy, being

enveloped by darkness.

What are your most marked traits?

Many.

What are the traits you most hate in others?

A few.

What is your greatest extravagance?

Maguro sashimi once a week when I can.

What is your greatest regret?

Not having travelled enough with my daughter.

What is your favorite trip?

1) A compulsive one without any preparation period prior to 2) Shooting period

What are the traits in a man you most like?

Many.

What are the traits in a woman you most like?

Many.

What do you most dislike?

A few [things]

How would you describe your current state of mind?

Been clear for many days, today and yesterday a little foggy, but will be clear soon again.

What is the most miserable thing to you?

Going alone, being crazy inside, not being able to talk about it.

What do you think is the best thing you have ever done?

All the important things in my life (if I can ever pinpoint them), they’re all brought to me by chance. (I reacted to all of them with my best at the time, like anybody else.)

If you hadn’t become a director, what would you have done?

Don’t know.

How do you feel about returning to Cannes?

Hope it will be a pleasant trip.

The Day he Arrives

admin — Tue, 17 May 2011 00:41:20 +0000

Un Certain Regard Directed by HONG Sangsoo Cast YU Junsang, SONG Sunmi, KIM Sangjoong, KIM Bokyung

By Jean Noh

One of the most anticipated Korean films of the year is director HONG Sangsoo’s latest work The Day He Arrives . Characteristic of the auteur’s dramas, the film follows a regional college professor and occasional filmmaker on a trip to Seoul, and proceeds to show versions of what could have been a day or perhaps several different days. The Day He Arrives has been invited to this year’s Cannes film festival’s Un Certain Regard section where last year, HONG’s film Hahaha was the Closing Film and won the top prize.

As with most of his other idiosyncratic works, the film has a very Korean setting for almost subtle character interaction that makes for interesting viewing as well. The Day He Arrives takes place mostly in the Bukchon district of Seoul, which is known for its traditional Korean-style houses and artistic atmosphere which is filled with cafés, galleries and a public library. Near this district is the traditional antiques and gallery neighborhood of Insa-dong. The film’s Korean title BukchonBanghyang roughly translates to ‘in the direction of Bukchon’ or ‘Bukchon-bound’.

In the lead role of Seongjun, the film stars YU Junsang, who first started working with HONG on the 2008 film Like You Know It All and most notably also starred in HONG’s Hahaha .

With the face of an ultimately selfcentered man who easily smiles to please others and get his way, Seongjun arrives in Seoul to see an old friend of his, Youngho (KIM Sangjoong). While he waits to see him, he wanders around Bukchon, running into an actress he used to know and having a short conversation with the eager woman. he walks down to Insa-dong and has a drink by himself when he is invited to join a trio of film students who recognize him as a film director. They are kind and respectful, but eventually he ditches them in a paranoid fashion and heads to an old flame’s apartment.

The next day, or maybe another – we can’t be sure – Seongjun is still wandering around Bukchon and again he runs into the actress he used to know. They talk again and part. Seongjun finally meets up with his friend Youngho, who has a previous engagement to see Boram (SONG Sunmi), an attractive professor whom he insists is just a good friend he cares about a lot. They go to a bar called Novel. he is obviously very interested in Seongjun. The owner of the bar looks very much like Seongjun’s old flame Kyungjin (KIM Bokyung), and he plays the piano for her.

And then the next day, or perhaps another day altogether, Seongjun goes to Jungdok Library with Young-ho. he tells the story of how he once followed a girl home from there for the first time. In the evening, the two meet with a former actor who has returned from doing business in Vietnam.There is tension between the former actor and the former director, but it is dispelled for the time being and Boram joins them. The four of them go to “a bar called Novel,” as Seongjun once again narrates in a voiceover. After a few drinks, he kisses the bar owner.

It now seems like Seongjun may have been in Seoul with his friend Youngho for a few days now, or just one day so far. he might have learned something from the meeting with his old flame, or it might be that he has to meet again with this woman who looks like the old flame. As if he had only the one day, Seongjun is left to face the day in spite of everything.

[20 KOREAN FILMS TO LOOK OUT FOR SECOND HALF OF 2011] COUNTDOWN

admin — Mon, 16 May 2011 02:19:09 +0000

The Last Crime for Money Seekers
Countdown
Directed by HEO Jong -ho

By RA Jegy

A ruthless debt collector TAE Geon-ho (JUNG Jae-young) chases after a mysterious woman CHA Ha-yeon (JEON Do-youn), to do his job as usual. Ha-yeon is a financial fraud who is just released from prison. Betrayed by a friend before, she lures Geon-ho into her plan for revenge, promising him big money immediately. In urgent need of big money, Geonho accepts Ha-yeon’s offer and Ha-yeon is excited about the thought of getting her money back.

Claiming to be humane action film, Countdown has chosen financial fraud as its subject, an unusual choice for a Korean film. Albeit a dark crime movie, its humane side is hidden in the ending. The movie talks of coexistence and betrayal of a couple, using each other for the sole target ‘money’. The twist where the two go on the verge of their lives that comes in the end will surely be an impressive point of the film.

The new side of JEON Do-youn, winner of the Best Actress Awards at 2007 Cannes Film Festival for her performance in Secret Sunshine , stands out. She tries to move away from her image as an art film actress that became concrete since Secret Sunshine . While acting as a beautiful fraud who’s full of lies, she also shows off her femme fatale features. JUNG Jae-young who was awarded Best Actor from Blue Dragon Awards last year for Moss reveals a cold yet kind side of him. The two actors had collaborated in RYOO Seung-wan’s 2002 action film No Blood, No tears , getting back together on screen after 9 years. No Blood, No tears and Countdown share the similarities of being a crime film. Meanwhile Countdown is a film company Bom’s comeback piece in genre film after its heydays of the early millennium.

Much is expected of Countdown , as a work of producer OH Jeongwan, returning to a popular genre film once again unveiling her senses and perseverance. With investment and distribution by Sidus FNH, the shooting will finish up in early May and be premiered in the Fall.

[20 KOREAN FILMS TO LOOK OUT FOR SECOND HALF OF 2011] QUICK

admin — Mon, 16 May 2011 01:41:10 +0000

Run, Motorbike, Run!
QUICK
Directed by JO Bum -gu

By BAI K Seung Chan

Quick is an action comedy that will hit the theaters in July, the peak season of Korean cinema. Its director’s seat is taken by JO Bum-gu, who has made The Bad Utterance (2004) and Three Fellas (2006), a school action flick with special colors.
One of its main features is that the film is made by those who also made Haeundae and Sector 7 . Producer YOUN JK of JK Film promises “an action visual never seen in a Korean film before.” Total production cost is at around US$930,000 (1 billion KRW).
Ki-su (LEE Min-ki) was once a notorious member of bike gang but now works as an express delivery man. Ah-rom (KANG Ye-won) is a friend from the gangster days who is now a famous singer. On this
particular day, Ki-su dashes with Ah-rom in the back instead of usual packages. Ah-rom is wearing his
helmet, which is secretly rigged with a bomb by someone.
If the two become separated for more than 10 meters, the bomb will automatically detonate. If they do not deliver the package as they are told to, Ki-su and Ah-rom may die.

Leading actors LEE Min-ki and KANG Ye-won had already appeared together as tragic lovers in Haeundae , another JK Film movie. Quick is the Korean version of racing and dashing summertime action genre. The Hollywood film Speed uses a bus, the Korean movie Quick uses a motorcycle as
its medium. The visual focus of Quick depends on a wireless remote control system, introduced for the first time in a Korean film. In Korea until now, action scenes using cars were always shot with stuntmen actually driving the car.
Yet Quick chose to move the cars using a wireless remote control system imported from Germany. As a result, the film will be the first Korean movie with car stunts moving at a speed of 130 km/h. With central Seoul as its backdrop, bombs blowing up at various points through which motorcycle dangerously runs at a high speed, this is what you can expect to see in Quick .

[20 KOREAN FILMS TO LOOK OUT FOR SECOND HALF OF 2011] LEAFIE: A HEN INTO THE WILD

admin — Mon, 16 May 2011 01:30:17 +0000

Myung Film Makes Challenge for Animated Films
LEAFIE: A HEN INTO THE WILD
Directed by OH Seong -yoon

By BAI K Seung Chan

Leafie is a hen, laying eggs every day. But it has never got the chance to care for the eggs it laid. Little by little Leafie starts to long for the yard seen through the doors of chicken farm building and soon dreams of going out into the yard to care for the eggs there. Since the dreaming begins, Leafie does not lay anymore eggs, and the farm couple throws Leafie away into a pit. The little hen begins its new life under a vicious watch from a weasel. Leafie tries to return to the yard, only to be illtreated and pushed away. Then it finds an egg in the woods, which it decides to care for while a duck friend stays around to protect Leafie.

The story comes from A Hen Into The Wild , a monumental bestseller in Korea as a children’s book that sold almost a million copies. A reputable commercial filmmaker of Korea, Myung Film signed contract copyrights with the author in 2005, and is about to release their first animation LEAFIE: A
Hen Into The Wild this summer.

The Animated feature market of Korea is at the moment dominated by films made by Disney and Pixar of America and Studio Ghibli of Japan, as well as popular cartoon shows turning into the big screen. A few Korean feature animations were released in the theaters, but none have
made commercial success.

“The theme of original work such as challenging the spirit that yearns for freedom and not settling with the present is meaningful enough to gain sympathy from all generations,”
says Myung Film’s CEO SHIM Jae-myeong. “Until now, most of Korean animated feature started out from original screenplays, but we believed it would help on the perspective of awareness if we take this best seller and adopt it.”

The process of production was not easy. While everyone in Korean cinema are cutting their budgets, it was almost a risk to make an animation with a total production cost of US$4.5 million (5 billion KRW). Fortunately for Myung Film, LEAFIE: A Hen Into The Wild was selected as a Global Animation
Project of Korea Creative Content Agency, receiving a maximum funding of US$650,000 (700 million KRW). SHIM says she became interested in the contents that everyone in the family can watch together as she made family movies like Little Brother and Ice Bar . “It wasn’t easy to secure investment for production as there had been no previous animated features that were successful in Korea. Myung Film was able to finance the film, only because it already had equity capital.”

Uncommon for a Korean animated feature, Leafie: A Hen Into The Wild chose to pre-record the sounds and do the drawings later. This meant voices of dubbing artists were recorded following the prepared video script, and drawing the animation accordingly. Along with actors MOON So-ri, YOO
Seung-ho, CHOI Min-sik and PARK Cheol-min along with more than 20 professional dubbing artists participated in the vocal recording. The film was directed by experienced animation producer, OH Seong-yoon. A teaser poster has already been released in Korea and full scale marketing is about to be launched, starting with its title song by singer IU, one of the most popular singers among the young generation.
The film is making an aggressive approach to overseas market as well. For the first time in Korean cinema history, Leafie: A Hen Into The Wild is to be released in Korea and China simultaneously. Such an arrangement was made under the assessment that it will minimize damage from
domestic piracy in China and that the film’s oriental paintinglike background and excellent character design will appeal to the Chinese people. The main background of the film is based on the image obtained from Upo wetlands, located in Changnyeong, Gyeongsangnamdo, where the beautiful
scenery is kept safe. The plan of its makers was to show the unique natural features of Korea that were never seen in an animated film made from America or Japan.