Abstract
Jason Bechervaise examines the latest edition of the Busan International Film Festival (BIFF) in the context of the external and internal problems that have plagued the festival over the past ten years, with a leadership crisis this spring once again putting the festival in the spotlight for the wrong reasons. This report explores BIFF’s curation of Korean cinema, with an emphasis on the festival’s importance as launch pad for young Korean filmmakers as well as how the festival’s programming, which now includes productions financed by streaming platforms, reflects the rapidly changing Korean film and media ecosystem.
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