[Focus] Conservative Cannes, Warm Reception for Korean Films... Why?

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[Asia Economy Reporter Lee Isul] The conservative barrier of the Cannes Film Festival has lowered. Three years after winning the first Palme d'Or with "Parasite" (director Bong Joon-ho) in 2019, two Korean films have entered the competition section.

The Cannes Film Festival carries a premium simply by being an invited work. Even in the non-competition section, films can attract attention, which leads to fierce competition everywhere. The proud Cannes maintains its own strict standards for judging.

Trust is even more important in the competition section where awards are contested. It is more advantageous if the new work is by a director whose artistic world has been recognized at Cannes. In fact, Korean films have knocked on Cannes' door several times, but until three years ago, it seemed to open but did not.

At the 74th Cannes Film Festival held last year, actor Song Kang-ho became the first male actor to serve as a juror, and actor Lee Byung-hun appeared on the closing ceremony stage as an award presenter. The changed perspective of Cannes towards Korean actors and Korean films was felt. Song Kang-ho and Lee Byung-hun, whom we met on site, received warm hospitality from Cannes. Lee Byung-hun said, "I feel there is a basic trust in Korean content," and Song Kang-ho also said, "I feel proud as a Korean filmmaker."

At the 75th Cannes Film Festival, held from the 17th to the 28th of next month in the southern French city of Cannes, three Korean films have been invited. "Broker," directed by Hirokazu Koreeda and starring Song Kang-ho, Kang Dong-won, and IU, and Park Chan-wook's "Decision to Leave" have entered the competition section, while Lee Jung-jae's directorial debut "Hunt" has been invited to the non-competition Midnight Screening section for its first screening. Just by looking at the invited works, one can see how the Cannes Film Festival views Korean cinema.

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There is also a perspective that the recent global K-content boom has increased interest in K-movies. Half of that is true. However, the interest in Korean films is not a temporary craze.

It is not just that Cannes changed because of the remarkable achievement of "Parasite" or the popularity of "Squid Game." Of course, it is impossible to discuss Korean films and the Cannes Film Festival without mentioning "Parasite." But the turnaround was not brought about by the success or achievement of a single work. For a long time, many filmmakers have knocked on Cannes' door and made known what our films are. It is more reasonable to see this as the result of good works and layered acting. These footprints have collectively increased the trust in Korean films and contributed to raising their status. Now, there is no one who does not know that Korean films are excellent.

The atmosphere felt at Cannes in 2019 was different. Last year, due to theater conditions, there were difficulties in submission and production, so there were no competition entries, but it was a meaningful year for Korean filmmakers opening and closing the door. Attention is focused on what kind of response the three films released at Cannes this year will receive and whether they will record another history.

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