As the Busan International Film Festival celebrates its 30th anniversary, director Jung Hanseok isn’t dwelling on past achievements. Instead, he’s orchestrating what he calls “the very beginning of a new chapter” for one of Asia’s most influential film festivals.
The milestone edition, which opened with Park Chan-wook’s “No Other Choice,” represents the most dramatic transformation in BIFF’s history, centered around the launch of its first-ever Competition section and a comprehensive reimagining of the festival’s structure.
“The weight of the number ’30’ is definitely undeniable,” Jung tells Variety. “But I didn’t want this year to simply be about looking back on past glories or a simply just a congratulation. If this edition is to be remembered as a monumental year, it’s not because of the number itself, but because it marks the very beginning of a new chapter for the Busan International Film Festival.”
The new competition section represents perhaps the boldest move in Jung’s six-month overhaul of the festival. By merging the longstanding New Currents and Kim Jiseok programs, BIFF has created a more impactful platform exclusively dedicated to Asian cinema.
Jung’s frank assessment of the previous system reveals the strategic thinking behind the change: “I came to realize that our two representative sections, New Currents and the Jiseok section, had reached their limits in terms of influence. If someone were to ask, ‘What were the winners of last year’s New Currents and Jiseok Awards?’ most people – including myself – wouldn’t be able to recall them.”
The new approach is already showing results. “Shortly after this year’s lineup was announced, two invited films secured sales agents: Daisuke Shigaya’s ‘Leave the Cat Alone’ and Vimukthi Jayasundara’s ‘Spying Stars,’” Jung notes, crediting the competition section with playing “a meaningful role” in raising the films’ profiles.
The 14 selected competition titles reflect Jung’s commitment to quality over geographical balance. “In selecting the 14 films, we gave very little consideration to regional diversity,” he explains. “Apart from the premise that the lineup must be Asian cinema, our focus was solely on the intrinsic value of each work.”
This approach resulted in a significant representation from Japan, China, and Korea – a reflection, Jung argues, of “one facet of the current Asian cinema landscape that the new Busan competition section has made visible.”
The Competition’s inaugural trophy, designed by Palme d’Or winner Apichatpong Weerasethakul, embodies the festival’s new philosophy. The Thai auteur described his creation as “something that could resemble a heart, or perhaps a flower vase, with a sense of water flowing inside.”
“He told me, ‘I felt that the Busan International Film Festival carries a similar spirit, where creators and their stories gather and overflow in ensemble,’” Jung recalls. The trophy represents something “uncoagulated, unfixed, fluid and ever-changing, just like water.”
This anniversary edition features 241 films across expanded venues, with revamped sections including an extended Midnight Passion, reimagined Vision program, and the return of Asian Cinema 100. Jung’s programming philosophy balances breadth with precision.
“It was important not to look only at the trees, but to see the whole forest,” he explains. “While keeping the overall balance of the festival very much in mind, I also made bold choices and concentrated focus within each individual program.”
Forum BIFF reflects Jung’s practical approach to industry challenges, focusing on two key themes: overcoming the Korean film industry crisis and assessing Asian cinema trends. The panels feature active industry practitioners rather than theorists.
“Our approach is one and the same: to avoid abstract rhetoric or empty theorizing, and instead focus on developing concrete, practical solutions to the pressing issues facing both industries today,” Jung emphasizes.
Park Chan-wook’s “No Other Choice” opened the festival, chosen for both its artistic merit and commercial appeal. “At a time when the Korean film industry is facing a crisis, we felt there could be no more fitting choice than this film as a signal of encouragement,” Jung says. “It is by Park Chan-wook, who has long stood as one of the defining figures of Korean cinema, and moreover, it is the project he has devoted his life to.”
The competition jury, led by “The Chaser” director Na Hong-jin, exemplifies Jung’s vision for the section. “We wanted the first Competition section to be led by someone with both vision and audacity, which is why we chose director Na Hong-Jin as Jury President.”
While Jung prefers describing his initiatives as “establishing the competition section” rather than transforming BIFF into a competitive festival, he acknowledges potential for expansion. “If the newly created competition section takes root successfully, we may consider expanding, whether by adding new awards or creating new programs in the future.”
For now, the focus remains on the current transformation. Jung’s hope is that “in the years to come, this edition will be remembered as the bold first step in a truly transformative journey.”
As BIFF enters its fourth decade, Jung’s ecosystem approach – where all sections “coexist, none falling behind or being neglected, but working in harmony as a whole” – positions the festival not just as a celebration of Asian cinema, but as a crucial industry platform for the region’s filmmaking future.
