As interim festival director of Busan International Film Festival (BIFF), Nam Dong-chul is seen everywhere throughout every day of the festival in South Korea.
From the entrance to the red carpet on opening night, greeting hundreds of guests alongside star host Song Kang-ho, to moderating press conferences and providing a presence at countless receptions and the nearby Asian Contents & Film Market, Nam is there.
It was a role bestowed on BIFF’s veteran programming director after the high-profile resignation of festival director Huh Moonyung in May, which was followed by the dismissal of new managing director Cho Jongkook and subsequent resignation of co-founder and chairman Lee Yong-kwan, who took responsibility for the top-level turmoil.
The festival is working on rebuilding its reputation, reassuring sponsors – some of whom stepped away from the troubled event this year – and using a strong selection of films to help cement its position as Asia’s leading film festival.
Halfway through the 10-day festival, Nam reflects on the event so far, when he anticipates the appointment of the new festival director and what he is most anticipating in the second half of this edition.
What have been some of the most memorable moments of this edition for you so far?
The opening ceremony. We had Song Kang-ho as host and Chow Yun-fat as the awardee of Asian Filmmaker of the Year. I was at the entrance of the red carpet with Song Kang-ho to greet every guest. I then walked to the red carpet and watched the on the screen when they finally met at the entrance. Wow! It was my dream come true and was great to see everyone so pleased. As a movie fan, it was fantastic to see these two actors on stage together.
What do you think makes Busan unique from other film festivals?
Busan’s major difference is our focus on Asian films. That is why we started the festival in 1996. Our aim from the very beginning was very clear. We wanted to be the number one festival in Asia and build a bridge between Asia and the world as well as find new Asian talent. For 28 years, we have accomplished this. For example, Hirokazu Kore-eda and Jia Zhangke were in the New Currents competition at the beginning of their careers and are now masters. We educate filmmakers, fund films and then bring them to the screen. This year’s opening film, Because I Hate Korea, was in our Asian Project Market [in 2016] and has now opened the festival.
What can you share about ticket sales at this stage?
When we opened the ticket reservation website two weeks ago, most of the weekend slots had sold out within five to 10 minutes so that was a good sign. I’m not sure on exact numbers right now but we’re around the same as last year, despite the total number of films and screenings has decreased [from 243 in 2022 to 209 in 2023]. For example, Kore-eda’s film Monster sold out 4,400 seats at the outdoor cinema in five minutes. Luc Besson’s Dogman was also very successful.
What is the atmosphere like, behind the scenes at the festival?
During the first half of the festival, everybody is very nervous and many events are taking place. Even I cannot see them all. But we are now at the beginning of the second half so everybody’s relieved and more happy.
You have said a strong selection and a strong edition of the festival would help start to rebuild the reputation of BIFF, after the troubles of the past few months. Do you think the festival can now start to put these troubles behind it and move into a more positive future?
I hope so. After the festival, we are going to have another committee meeting about recruiting the new chairman and festival director. It takes time but I hope we can find them by early next year
Could be persuaded to take on the festival director role full-time next year?
I don’t think so. I want to keep my position as programming director.
What skills or qualities do you think the festival director of Busan needs?
The festival consists of many people, both staff and volunteers as well as firms working with festival, like the ticket sales company. A lot of people make this festival happen and we have to work with them in a harmonious way. This year, we don’t have chairman or festival director but our staff is all the same and they know how to handle things. We just need to encourage them: “You can do it, you can do it.” That kind of encouragement is very important.
With less than a week remaining, what are you most eagerly anticipating?
The first half of the festival is star-driven but the second half includes a lot of first screenings of independent Korean films and documentaries. So it is a period of discovery and I’m looking forward to what we find. After the festival, people will not only be talking about Kore-eda and Chow but the next Kore-eda and the next Chow.
No comments yet