This special screening commemorates the 25th year of the JEONJU International Film Festival and the 50th anniversary of the Korean Film Archive this year. It features four films that elicited significant resonance when screened at JEONJU IFF, along with a further four films from ‘50/50,’ a collection of notable Korean films from the 1950s selected by the Korean Film Archives to celebrate its 50th anniversary. Furthermore, one masterpiece from each director, KIM Sooyong, who passed away in December 2023, and LEE Dooyong, who passed away in January 2024, is included. A total of ten films will be screened in their latest restoration or digital remastering versions. The four films from previous editions of the JEONJU IFF are Virgin Stripped Bare by Her Bachelors by HONG Sangsoo, which was the opening film of the 1st JEONJU IFF, Barking Dogs Never Bite by BONG Joon Ho and Die Bad by RYOO Seungwan, both of which were also showcased at the 1st JEONJU IFF and received considerable attention, and Blossom Again by JUNG Jiwoo, which was screened at the 7th JEONJU IFF. Virgin Stripped Bare by Her Bachelors, Barking Dogs Never Bite, Blossom Again will be presented in 4K digital format for the first time ever, while Die Bad will be shown in its 2016 version, Die Bad: 4K Remastering, for this screening. The Widow is a film that delves into the life of a widow during the Korean War. It left a significant mark on Korean film history as the debut film of PARK Nam-ok, the first female director in Korea, and for its daring portrayal of women’s desires, which was ahead of its time. It is also her final work. Although the depiction of women’s desires in this film may be seen as limited by the societal constraints of its time, the film’s importance remains undiminished. Unfortunately, the absence of the final scene prevents confirmation of its conclusion. Piagol, directed by LEE Kangcheon, tells the story of a Communist partisan unit that remained in the Piagol area of Jirisan Mountain even after the ceasefire of the Korean War. While it is now praised for its humanizing portrayal of the bitter subject of the Korean War, it initially sparked heated debates between pro- and anti-communist factions, leading to labeling as a pro-communist film and the subsequent cancellation of screenings, followed by later resumption. Piagol is also recognized as a foundational film of the Jeonbuk film industry. The Money, directed by KIM Sodong, is a film that has been regarded as a prominent example of Korean realism cinema since its release. Set against the backdrop of the late 1950s during the onset of industrialization, it carefully portrays the plight of rural areas threatened by the influx of new trends originating from urban centers. It is also considered one of the significant works of the esteemed actor Kim Seung-ho. The Flower in Hell, directed by SHIN Sang-ok, depicts a group that engages in stealing and smuggling from U.S. military bases after the Korean War. The focus is not on the protagonist Yeong-sik, but on his lover, Sonya, strictly speaking, Choi Eun-hee, who played Sonya. Choi Eun-hee’s portrayal of Sonya is still hailed as one of the most iconic femme fatales to date. Her departure from solely portraying so-called Korean women up until that point created a palpable tension within the movie and beyond its confines. Mist, along with The Seashore Village (1965), stands as an undeniable masterpiece of director KIM Sooyong, who made 109 films over a span of 40 years. Based on Kim Seung-ok’s short story, Record of a Journey to Mujin, the film exemplifies the literary film genre, which the director pioneered and brought to its heyday. It is a film as distinctly modernist as the original work. Mist naturally evokes the cinematic styles of Michelangelo Antonioni and Alain Resnais. The Hut, directed by LEE Dooyong, could be classified as an occult film by today’s standards. As the eldest son of a noble family languishes in illness without recovery, shamans from across the country gather to attempt to cure him. Among them, one claims that he is cursed by a gourd bottle, prompting the unveiling of the dark secrets entwined within its past. The film delves into the themes of bitter resentment and revenge, intricately weaving elements of Korean traditional shamanism to create an atmosphere terrifying and erotic. It was invited to the Venice International Film Festival 1981 and won a special award for the first time in the history of Korean cinema. Comparing it to the current sensation Exhuma (2024) would be intriguing. Of the restored classic films mentioned, all five will be screened in 4K digital format, except Mist. Programmer MOON Seok *This Special Focus is co-hosted with the Korean Film Archive.