Executive Director Heo Mun-young: "Young Busan International Film Festival Must Actively Embrace Trends and Changes" [2022 BIFF]

by Lee Yiseul

Published 11 Oct.2022 16:46(KST)

The 27th Busan International Film Festival On Site
Meeting Heo Mun-yeong, Executive Chairman in Busan
Full Normalization After 3 Years Since the Pandemic
Tony Leung's Star Marketing Huge Success
New Busan Story Market Established

Heo Mun-young, Executive Committee Chair / Photo by BIFF

[Busan=Asia Economy Reporter Lee Isul] This can be considered a success. After three years since the pandemic, the Busan International Film Festival (BIFF), which declared a full normalization this year, is proving it everywhere as it heads toward the final stages. Star marketing hit the mark. Actor Yang Zaowei (Liang Chaowei, 60) grabbed the spotlight. With a frenzy over merchandise open runs and high demand for audience talks (GV) ticketing, it demonstrated popularity that transcends generations. Utilizing all theater seats without social distancing, resuming Asian film support programs and forums, and launching an expanded Busan Story Market, BIFF faithfully fulfilled its role as a traditional film festival. The newly established 'Neighborhood BIFF' last year expanded into a regional festival throughout Busan.

Attempts to keep pace with change settled in this year. The 'On Screen' section, showcasing online video service content, was presented as a full-fledged program. Each OTT company hurried to hold events and parties in Busan to raise interest. It was an unusual scene where a film festival and OTT coexisted. The 27th BIFF, having regained pride as Asia's largest film festival, now looks toward next year.

Huh Moon-young, the executive committee chairman of the Busan International Film Festival (hereafter 'BIFF'), who is busy with a tight schedule in Busan, recently stated in an interview with Asia Economy, "We will uphold the traditional values centered on Asian cinema by discovering Asian films and uniting with filmmakers, while actively embracing 21st-century changes."

=This year, as a film festival, BIFF's direction is clear. While emphasizing offline and the significance of physical space by removing online, it actively embraced OTT. The number of works in the newly established On Screen section last year was increased. 'Can series be considered films?' and 'What is a film?' are also themes of the BIFF forum, which resumed after three years.

The choice is one of two. Whether to insist on the traditional values and categories of film like the Cannes Film Festival, or to actively accept new trends, changes, and boundary disruptions despite controversy and division. For a non-competitive, young festival like BIFF, the latter must be chosen. Our role is to actively engage in and trigger possible controversies.

The On Screen section contains a declaration that series can be regarded as a genre of film. Whether that declaration is justified will be examined in the forum. Of course, no conclusion will be reached. Various opinions will be submitted, but no consensus or agreement will be made. However, the fact that the issue was raised is important, and we intend to continue this effort.

=This year, OTT companies such as TVING, Netflix, Wavve, and Disney actively held business events at BIFF. It was a new scene. Do you see this as an unstoppable trend of change?

Each film festival pursues slightly different values and roles. BIFF broadly has two. One is not to deviate from the value of focusing on Asian cinema, which we have emphasized since the festival's early days?discovering Asian films and uniting with filmmakers. That is a traditional value that will not change amid change. Everything else can change anytime. Without openness, it would be difficult to adapt to 21st-century changes. How a festival sets its own values can affect how it accepts this issue.

=The keywords 'experience' and 'festival' cannot be left out. The expansion into a regional festival and maintaining presence in Nampo-dong are also notable. Do you have a particular direction in mind?

We will not give up the concept of a festival as a place to meet the best films and filmmakers. At the same time, we will move toward a new concept of film festival that constantly disrupts, breaks down, and mixes the boundaries between creators and viewers, producers and consumers. We pursue these two divisive elements together. On one hand, a place to worship a small number of films with high artistic value unfolds, and on the other, a 'wild party' where everyone makes films, talks, and watches films takes place. We hope that this solemn worship and lively party happen simultaneously at BIFF. Suitable programs have been piloted since last year, including 'Neighborhood BIFF' and 'Community BIFF' programs. Anyone in the community can make films and watch them together on the last day, engaging in lively and noisy conversations. This is also a landscape of 21st-century cinema and part of the 'wild party' I mentioned.

[Image source=Yonhap News]

=The scene where the chairman did handprinting on stage with Yang Zaowei was impressive. If Cannes has Tom Cruise, BIFF has Yang Zaowei. There were many complaints from audiences who couldn't get the limited edition 'Yang Zaowei merchandise set.' Did you anticipate this interest?

The response from teenage audiences is tremendous. We are surprised by this unexpected one-sided interest. Not only did about 5,000 people gather at the open talk, but we thought 700 sets of Yang Zaowei merchandise would be enough, but it was not. The merchandise shop opens at 10 a.m., but people lined up from 8 a.m., stretching 40 to 50 meters, showing such interest that it was both surprising and grateful.

=The press also felt the tremendous enthusiasm of young audiences in their teens and twenties toward Yang Zaowei on site. The popularity exceeded expectations. Why do you think Yang Zaowei is so popular among the 10-20 generation?

It is true that Yang Zaowei's character as a villain stood out in the movie 'Shang-Chi and the Legend of the Ten Rings' (2021). The fact that he appeared as an attractive character in a superhero movie popular with the 10-20 generation seems to have influenced this. Cinephile audiences in their twenties might have been influenced by watching the recently re-released remastered versions of '2046' (2004) and 'Chungking Express' (1995). The enthusiasm shown by the twenties was comparable to that for any Hollywood actor. The well-known pure love story might also be another reason for the passionate affection for Yang Zaowei. Is there any actor who has achieved and possesses everything to this extent?

=Tickets for the audience talk (GV) with Yang Zaowei were resold for over 500,000 won. Did you expect this? Also, why was he selected as the recipient of the Asian Filmmaker Award?

We did not expect ticket scalping to appear, as he is not an idol. There are plenty of reasons to award Yang Zaowei the Asian Filmmaker Award. Actors who have reached a certain level of range and depth in acting are rare not only in Asia but worldwide. He has appeared in almost every genre and field of film, from masterpieces that will remain in film history to Marvel movies, showing top-notch acting and character interpretation in almost every film. It would be strange not to give an award to such an actor. The reason for selection is very clear and undisputed. However, this enthusiastic popularity was unexpected.

=On the 7th, you did handprinting with Yang Zaowei on the outdoor stage at the Busan Cinema Center. The warm exchange of glances was impressive. How was Yang Zaowei from your perspective?

I first met Yang Zaowei in 2004 when I was a programmer and saw him again after 18 years. He turned 60 in the meantime, but he hasn't changed at all. His shy and humble attitude, and the clear aura he gives off, were the same, which was surprising and pleasant. Perhaps his clear aura and warmth were also conveyed to the audience watching the films. That might be another reason for the passionate response to the actor.

=The conservative Cannes Film Festival also emphasized star marketing in May. Star marketing has long been an important era in film festivals. This year at BIFF, many stars including Yang Zaowei, Han Ji-min, Kang Dong-won, Lee Young-ae, and Ha Jung-woo meet audiences. You must have deliberated; what are the selection criteria?

We try not to prioritize popularity. We mainly try to invite actors who have appeared in good films and shown excellent acting. There may be actors who attract more audiences, of course. We respect them, but the most important thing is whether the actor meets the audience with excellent acting. We try to invite those who have shown achievements above a certain level.

[Image source=Yonhap News]

=The Busan Story Market was newly established and held at the Asia Contents & Film Market (ACFM). Is there a reason for naming it 'Story' instead of IP (Intellectual Property)? What functions do you hope it will serve?

The Busan Story Market is an expanded market from the previously held E-IP market. We decided to change the specialized term E-IP to the more universal term 'story' and expand its scope. The first reason for expanding from the E-IP market is the intuitive appeal of the concept of 'story.' The second is that now everyone creates stories. Even people who shoot vlogs create stories. Stories are everywhere. Film is no longer the exclusive domain of a few elite with artistic talent and equipment. Stories scattered everywhere are born through scattered equipment. This year, it is held together with the Seoul International Book Fair. It is especially arranged to encourage massive participation of storytellers from the Busan region.

=Do you have any goals as the executive committee chairman until the closing?

The biggest goal when the festival starts is 'safe operation.' Since many people participate simultaneously in events, accidents big and small occur. We hope to minimize them. Even if accidents happen, they must be quickly resolved. It may sound obvious, but I am in such a tense state that I cannot think of anything else.

=There were criticisms regarding the ticketing error before the opening. Due to a setting error by the ticket system operator, ticket vouchers could not be used. Were you disappointed?

It felt like everything was collapsing, not just disappointing. I wondered if it could really be resolved. Although it was the agency's fault, as the person responsible for managing and leading, I deeply felt it and first thought whether the accident could be resolved. The 5,000 to 6,000 ticket voucher holders are not just audiences but the most supportive and passionate fans of BIFF, yet the system error immobilized them for 38 minutes. It was shocking as it tied the hands and feet of people who make decisions within three minutes. I thought we must do everything possible, and all staff worked overnight for two nights to make technical adjustments to fix it. Although we created a remedy, I believe there will be unresolved anger, and I consider it a debt to repay over time.

=You can say the full normalization of the festival was successful. You must have had many thoughts this year. Are there any improvements or ideas for next year's festival?

We have a long-term development plan but will not make drastic innovations. After changing the framework to some extent, there is a period of 2-3 years of stabilization, and then we proceed in a stepwise manner by making big changes and stabilizing. Last year, we made adventurous attempts with 'Neighborhood BIFF' and the 'On Screen' section, and I think this year and next year are stabilization phases. The year after next might be a year to prepare another new card.

We knew many audiences would come this year, but we did not expect such enthusiastic responses. To meet expectations, I first think we need to invite more overseas guests to meet and talk with audiences. This year, we set up an outdoor screen on Haeundae beach, which had not been used for years, to screen films and hold various events. If next year, visitors to Busan feel that 'BIFF is also happening big on Haeundae beach,' it might be good for Busan city as well. We will consider the vision for next year gradually after the closing.