The name of Bae Chang-ho has been regarded in various ways within Chungmuro, the heart of Korean cinema. For some, he is remembered as a filmmaker who achieved great popularity and found success at the box office, while for others, he is a bold pioneer of cinematic experimentation. Indeed, he embodied both aspects of his career. He was once an icon of the Korean film industry, having attained star status through his own achievements. However, within the mainstream film system, his daring experimental approach was met with skepticism from the financial backers. From then on, he transformed into an independent filmmaker, producing the films he sought to make largely on his own. This is rare, at least in the sphere of Korean cinema. As many directors age, they often blame the commercial stakeholders and audiences who no longer support them, which leads to a halt in their filmmaking. However, director Bae Chang-ho has forged his own path, steadfastly pursuing his vision.
Bae Chang-ho: Between the Popular and the Experimental, co-presented by the JEONJU International Film Festival and the Korean Film Archive, offers a comprehensive exploration of director Bae Chang-ho's unique cinematic style, which he has consistently developed over more than 40 years. The documentary The Close Up of Bae Chang-ho will have its world premiere, accompanied by three of his films that either have not been digitally restored or, despite digital restoration, have yet to be screened in theaters. The Close Up of Bae Chang-ho, co-directed by directors Bae Chang-ho and Park Jang-choon, a professor at Catholic Kwandong University, takes the audience through the various settings of Bae Chang-ho's films, reflecting on his cinematic world. The documentary features not only discussions of the films and behind-the-scenes anecdotes but also director Bae Chang-ho's artistic philosophy, positioning it as, in many ways, an essay film.
Warm It Was That Winter (1984), newly restored in 4K digital resolution for this special exhibition, will be shown. The film revolves around two sisters, separated after losing their parents during the Korean War, only to reunite many years later. It captures the devastating reality of war and the profound complexities of sibling bonds. Yu Ji-in's portrayal of Su-ji, the older sister, and Lee Mi-sook's depiction of Su-in, the younger sister, evoke a strong emotional response.
Hwang Jin-ie (1986) stands as one of the most significant films in Bae Chang-ho's career. Although he had achieved commercial success, the heavy reliance on long takes in this film was praised for its aesthetic quality but ultimately faced intense public disapproval. In The Close Up of Bae Chang-ho, he states that in Hwang Jin-ie, his focus was on content rather than form. However, after Hwang Jin-ie, his films gradually began to exhibit a more auteur-driven style.
The Dream (1990), based on Chunwon Lee Gwang-su's novel, is a film in which the director's experimental vision, cultivated since Hwang Jin-ie, combines with popular appeal. Set against the backdrop of the Unified Silla period, the film follows the lives of Jo-shin, a monk, and Dal-lae, whom he raped, as they spiral down a path of destruction. Despite its compelling narrative, many viewers found the film's “twist” at the end unsatisfactory. Nevertheless, The Dream is packed with unforgettable imagery, carving out its own niche as one of the director's defining works.
At the 26th JEONJU IFF, these films will be showcased alongside a master class by director Bae Chang-ho. We look forward to your interest and participation. (Moon Seok)
