Thank you to everyone who submitted their precious projects to the 26th JEONJU International Film Festival’s Korean Competition for Shorts.
Announcing the Official Selection for Korean Competition for Shorts
This year, 23 narrative films, 3 documentary, 3 experimental, and 1 animations were selected.
We have selected the following works to screen at the 26th JEONJU International Film Festival’s Korean Competition for Shorts.
Official Korean Competition for Shorts Selection (30 titles, in Korean alphabetical order)
1) Toe to Toe (SHIN Yuseok)｜Korea｜2025｜23min｜DCP｜Color
2) mistletoe (HWANG Hyeonjee)｜Korea｜2025｜40min｜DCP｜Color
3) When the Trees Sway, the Heart Stirs (LEE Jiyoon)｜Korea｜2025｜40min｜DCP｜Color
4) More than you can imagine (KWON Jiyong)｜Korea, Cuba｜2024｜23min｜DCP｜Color
5) Two Hours (LEE Jaewon)｜Korea｜2024｜24min｜DCP｜Color
6) Those who leave buy flowers (NAM Sohyeon)｜Korea｜2025｜30min｜DCP｜Color
7) In Our Day (KIM Soyeon)｜Korea｜2025｜21min｜DCP｜Color
8) milu (PARK Yeji)｜Korea｜2025｜40min｜DCP｜Color
9) A Pear Tree In The Star Village (SHIN Yul)｜Korea｜2024｜35min｜DCP｜Color
10) SLOWLY (KIM Haejin)｜Korea｜2025｜20min｜DCP｜Color
11) Vanished Season (KIM Daehan)｜Korea｜2025｜36min｜DCP｜Color
12) The Third Direction (LEE Seohyun)｜Korea｜2025｜17min｜DCP｜Color
13) A Girl Who is Afraid of Turning to Stone (YOON Ohseong)｜Korea｜2025｜24min｜DCP｜Color
14) Breathing and Whispering (JEON Junehyuck)｜Korea｜2025｜19min｜DCP｜Color
15) Planet Spoilia (LEE Se-hyung)｜Korea｜2025｜29min｜DCP｜Color
16) The Possessed (SON Taegyum)｜Korea｜2024｜26min｜DCP｜Color
17) Reviving The Engine (JUNG Hyein)｜Korea｜2025｜26min｜DCP｜Color
18) Quiet Fires (Daniel LEE)｜Korea｜2025｜30min｜DCP｜Color
19) My neighbor baby (CHEY Zunseek)｜Korea｜2025｜29min｜DCP｜Color
20) Top Right Corner (LEE Chanyeol)｜Korea｜2025｜29min｜DCP｜Color/B&W
21) The Empty Pot (KIM Gyudong)｜Korea｜2025｜18min｜DCP｜Color
22) All The Ways We Disappear (SONG Siyoung)｜Korea｜2024｜19min｜DCP｜Color/B&W
23) Still Sunset (JANG Keunyoung)｜Korea｜2025｜29min｜DCP｜Color
24) World premiere (KIM Seonbeen)｜Korea｜2025｜34min｜DCP｜Color
25) Inline (LIM Keunyoung)｜Korea｜2025｜29min｜DCP｜Color
26) Mystery of humanity continuing, and Lovers (JANG Hyeonseo)｜Korea｜2025｜21min｜DCP｜Color
27) COMMUNITY (PARK Youjin, JIN Hyeonjeong)｜Korea｜2025｜37min｜DCP｜Color
28) Delay Via Damage (LEE Seo-jin)｜Korea｜2024｜18min｜DCP｜Color
29) Being and Nothingness (KIM Jiwoo)｜Korea｜2024｜7min｜DCP｜Color
30) Dear S (LEE Ga-eun)｜Korea｜2024｜21min｜DCP｜Color
Commentary on Korean Competition for Shorts
Recently, an independent film that was released directly through theaters without the help of a distributor wrapped up its run with a final audience count of 1,184. Whether you consider this many or few, it is dishearteningly low given the film’s appeal. Other independent releases through various channels face similar struggles. Looking up audience figures for Korean independent films I’ve enjoyed in recent years reveals sobering numbers: 1,431, 1,385, 844, 698... This year, JEONJU International Film Festival received a record 1,510 entries for the Short Film Competition. To put it simply, Korean independent/short filmmaking has become an ecosystem where filmmakers outnumber viewers. I should correct myself: it has been this way for a long time. (The examples cited in this paragraph are mostly fictional, and any resemblance to actual cases is purely coincidental.)
These may be mere numbers, but they present a clear picture of our current landscape. Neither the claim that “creative democracy has flourished with many people participating in filmmaking” nor the opposing view that “only the talented few should make films” seems accurate. These numbers simply bring us back to contemplate the fundamental role of filmmaking. What drives someone to make a film? Why must this creative impulse find expression through cameras and microphones? Most importantly, what should a completed film share and communicate? In an environment where video production has become commonplace, our seven jury members found ourselves reevaluating the fundamental meaning of creating short films. Rather than offering a clumsy diagnosis of trends in the submitted films, we would like to highlight two contrasting dynamics where we observed certain compulsions and fears.
The first is the relationship between the camera-wielding “I” and the world. Characters in many fiction films disconnect from social relationships, becoming absorbed in extremely private domains (family, lovers, lost memories), nervously severing connections with society, or choosing to blow them up entirely. Encountering strangers through film now seems increasingly difficult and unfamiliar. A considerable number of films focus on the filmmaking process and sites themselves rather than shaping social spaces, attempting to connect with others through videos and recordings around us rather than through direct engagement. This reveals both the sensibilities and certain fears of contemporary filmmakers, who seem safely confined within their familiar environments and spaces. In the same context, we find it concerning that the number of documentary submissions that patiently capture their subjects has decreased. The time devoted to research and waiting—observing others’ lives and reflecting on the relationship between camera and subject—has diminished. Instead, there has been a marked increase in what might be called “essay-like” approaches that reconstruct seemingly unrelated historical materials through distinctive intellectual montage. While fascinated by the free-flowing thought systems and flexible forms these works present, we wonder if this trend stems from creators’ compulsion and impatience to quickly translate their personal intuitions and interests into tangible short films.
The second is the relationship between completion and incompletion. Short films now regularly have substantial production budgets, professional crew, and recognizable actors. While the diversification of audiovisual elements in short films is certainly welcome, this technical standardization reflects something more than an internal change in film. Today’s Korean short films are trapped within a circuit of film schools, production grants, film festival screenings, awards, jury reviews, and instant audience feedback. This system demands every work to function as a finished product. The environment where the path to becoming a mainstream filmmaker has narrowed to securing industry validation through acclaimed short films also plays a significant role in this system. In the rush to produce polished works and become accomplished directors, Korean short films seem to have forgotten their performative possibilities inherent in incompleteness and process. Short films should be a space of practice, where creators can present unique methodologies and rules despite unresolved narratives, imperfect filming and lighting, awkward performances and movements, or limited filming conditions. The jury found ourselves drawn to adventurous attempts that embraced creative possibilities even if their level of completion felt awkward and monotonous, rather than technically accomplished films that overlooked innovative possibilities.
We focused on works that break through these fears and compulsions surrounding “Korean short films” in their own ways. With multiple jurors collaborating, we avoided creating a one-sided list. Nothing could be more antithetical to cinema than imposing a single perspective. In other words, the 30 films selected for this year’s Korean Short Film Competition represent our attempt to capture diverse approaches that explore the two dynamics as they negotiate, make compromises, and conduct discussion on the tensions between the camera-wielding filmmaker and the world, and between completion and incompletion. We extend our sincere gratitude and respect to everyone who submitted their work and contributed to these productions.
The Preliminary Juries of Korean Competition for Shorts
KIM Byeonggyu, KANGYU Garam, KIM Bonyeon, MOON Hyein, JEONG Jihye, CHOI Changhwan, MOON Seok
Official Local Cinema Selection (5 titles, in Korean alphabetical order)
1) Galbi (SONG Esther, LIM Yeonju)｜Korea｜2025｜20min｜DCP｜Color
2) The Roots (SO Ji-in)｜Korea｜2025｜26min｜DCP｜Color
3) *SLOWLY (KIM Haejin)｜Korea｜2025｜20min｜DCP｜Color
4) The Burglars (KIM Taehwi)｜Korea｜2025｜96min｜DCP｜Color
5) Womb Mates (NOH Heejeong)｜Korea｜2025｜16min｜DCP｜Color
* Korean Competition for Shorts Screening and other films screening Korean Cinema
Commentary on Local Cinema
This year’s JEONJU International Film Festival for the Local Cinema section received 39 short films and 7 feature films. We were impressed by the diversity of themes and forms, as well as local filmmakers’ consistent participation and experimental approaches. We selected 4 short films and 1 feature film, each demonstrating their distinctive qualities and commitments to craft.
The selected works are: Galbi by directors SONG Esther and LIM Yeonju, The Roots by SO Ji-in, SLOWLY by KIM Haejin, The Burglars by KIM Taehwi, and Womb Mates by NOH Heejeong. Notably, it is significant that a feature film was selected in the Local Cinema for the first time in several years. The Burglars earned praise for its provocative premise and directing skills, showcasing the potential of regional feature filmmaking.
This year's selections explore relationships that transcend conventional family and social frameworks. Stories centering on women’s bodies, emotions, and choices stand out, with impressive approaches that expand boundaries—sometimes provocatively, sometimes with quiet assurance.
Galbi by directors SONG Esther and LIM Yeonju cleverly unpacks subtle family tensions through ironic situations. Its concise direction builds unexpectedly humorous dialogue and situations. The Roots by SO Ji-in captures the gaps in relationships and subtle emotions through the interactions of three women with different vulnerabilities. Despite being a family, the characters maintain distances that are difficult to be bridged, highlighted by the actors’ rhythmical performances and emotional expressions. SLOWLY by KIM Haejin offers a fresh exploration of the boundary between life and death through the contrasting events of the mother’s passing and the aunt’s childbirth. Its perceptive direction and delicate narrative create a compelling coming-of-age story. The Burglars by KIM Taehwi balances an intriguing premise with confident direction, supported by strong performances. Starting with the unusual, whimsical relationship of home burglary, it charmingly progresses through tension and humor toward mutual understanding. Womb Mates by NOH Heejeong examines perspectives on women’s bodies through an inventive premise. Drawing on black comedy elements, its commitment to pushing the characters to their logical conclusion creates a solid narrative.
The submissions for this year’s Local Cinema featured notably unfiltered emotional expression and honest narratives centered on relationships. We also observed active attempts to explore and experiment with new forms through original concepts and genre conventions.
This Local Cinema reaffirms the potential of regional filmmaking through creators’ distinctive styles and explorations. We look forward to creative innovations in the future and sincerely thank all directors and production teams who submitted their works.
The Preliminary Juries of Local Cinema
KIM Hyunjung, LEE Haneul, MOON Seok
