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Korean Panorama Cross section of contemporary Korean Films.


South Korea / 111 mins / Korean / 2015

Direction: HONG Wonchan
When Mr. Kim disappears after apparently killing his entire family; the police question his colleagues about things relating to him at work. Intern Mirye, who is close to Mr. Kim, is pressured by the company to say nothing. She also has no idea why he appears to have committed such a grotesque crime. But then she starts to remember how his recent behaviour had seemed strange. The mystery continues as video surveillance shows Mr. Kim entering the building after the killings but there is no record of him leaving. Does that mean he is still somewhere in the building? While the office workers become increasingly agitated, another murder is committed in the building. Office is a clever genre film that was shown at the Midnight Screening at the 2015 Cannes Film Festival.

Cannes Film Festival
Neuchatel International Fantastic Film Festival
Fantasia Film Festival
Busan International Film Festival
Adelaide Film Festival
Ljubljana International Film Festival
Sitges – International Fantastic Film Festival of Catalonia
Fantasy Filmfest-International Festival for Science Fiction, Horror and Thriller Neuchatel International Fantastic Film Festival (2015)
Stockholm International Film Festival


South Korea / 126 mins / Korean / 2015

Direction: KIM Sung-je
On a demolition site, Park Jaeho—one of the residents relocated from the dwellings to be demolished—is arrested on suspicion of murdering a policeman. After witnessing his own son’s death he tried to prevent a gangster from getting to the site. A young court-appointed lawyer takes the case and Mr. Park claims that it was the police that killed his son and that he is innocent. The prosecution tries to fabricate evidence and cover up the event, and the lawyer tries to get to the truth through a jury trial. The Unfair is an explosive courtroom drama in which a legal battle rages between a prosecutor and a lawyer due to the paternal love. The father went to extremes after witnessing his son’s death and his actions cause the death of another son. The problem is how the government deals with processing the two deaths: Without the use of excessive force would the young men still be alive? The powerless father accepts responsibility for the death, but the powerful fatherland will not.


Busan International Film Festival


South Korea / 104 mins / Korean / 2015

Direction: Jo Chi-Un






Il - beom works hard to pay off his daughter’s hospital bills but one day gets fired for being wrongly accused as a molester. After series of failures, Il-beom finds a job at a PR company which provides free entertainment to old women in exchange for buying their products. Il-beom feels shameful to play dirty tricks on old women but he has no other choice. Despite his initial concerns, Il-beom starts to feel a sense of worth entertaining old women. A new team member, Ok-nim joins and Il-beom becomes a good friend to her, making her feel warm and safe which she never gets from her own son. But, the joy of their friendship won’t hold long when Il-beom’s debt reaches beyond help.

Right Now Wrong then /

South Korea / 121 mins / Korean / 2015

Direction: Sang-soo Hong
With the same actors and sets, this film unfolds in two parts under the subheadings: ‘Part 1: Right then, Wrong now,’ and ‘Part 2: Right now, Wrong then.’ A film director, Ham Chunsu, goes to Suwon to do a Q&A session at a film festival.

The day before the screening of his film, he looks around the city and persuades a woman called Huijeong to go to a cafe for coffee. Then they go to her atelier, and he enjoys her paintings. Now drunk, they go on to a party hosted by another acquaintance of Huijeong’s, where it’s revealed that he is married, and she loses her interest in him immediately. Part 2 shows almost the same story, but with subtle differences

in the order of lines, some content, camera angles and settings of situations. Director Hong Sangsoo has already made a film in which two stories overlap, but despite the subheadings ‘now’ and ‘then,’ this film is not divided into the past and the present. The results change dependent on the subtle details.


Locarno Film Festival-Golden Leopard, Best Actor, Prize of the Ecumenical Jury - Special Mention


South Korea / 120 mins / Korean / 2015
Direction: James SHIN Su-won
A son forces his aging father to have an intolerably difficult operation in order to inherit his property. He confines his immobile father to the VIP ward in a hospital and waits for an organ transplant to extend his life. When an unidentified unconscious woman is admitted to the same hospital, he asks nurse Haerim to find out her identity. In so doing, the nurse discovers the patient’s unbearable ordeal. The woman, nicknamed Madonna, ended up in a brothel after being exploited by her lover. As the nurse feels sympathetic toward the unfortunate woman, she tries to save her unborn foetus. In her previous film, Pluto, director Shin Su-won explored the conflict between rich and poor and the class divide. Once again, through Madonna, the victim, Shin depicts the extremes of our society; where people’s lives are divided according to the discrepancy between the rich and poor, the possession of power, and the gender divide. In this kind of society, the only hope seems to be the emotional bond shared by Madonna and Haerim.

Hawaii International Film Festival - Halekulani Golden Orchid Award for Best Narrative
Cannes Film Festival
Busan International Film Festival
Film Fest Gent
London Film Festival
Cairo International Film Festival
Rio de Janeiro International Film Festival


South Korea / 87 mins / Korean / 2015

Direction: KIM Ki-duk
Following the Fukushima nuclear incident, a young couple moves to Tokyo where they realize that the wife is pregnant. She wants to have an abortion, worried the baby might have been affected by radioactive contamination and concerned it might be deformed or disabled. But the husband wants her to keep it. He persuades her that Fukushima is very different from the Chernobyl disaster, but she is still not convinced, so he visits his house in Fukushima himself, to find proof that the radioactive contamination is not so serious.

However, he witnesses something quite unexpected while he is there. Can the couple truly escape the effects of the Fukushima nuclear incident? Director Kim Ki-duk made this film almost completely independently. He cast Japanese actors but shot the film as if he were a guerrilla filmmaker, without a normal crew to help as such. Like his previous film, One on One, the provocative elements of the film demand attention, and he doesn’t hesitate to insist on the radical notion that to avoid nuclear accidents, we should stop using electricity.

Karlovy Vary Film Festival
Busan International Film Festival
Sakhalin International Film Festival
Rio de Janeiro International Film Festival

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