So the only important thing about this week to me was the 16th Annual Jeonju International Film Festival, for which I had the pleasure of attending even the opening ceremony.

The ceremony was hosted by 임성민 (Lim Sung-min, former KBS news announcer) and 김동완 (Kim Dong-wan, member of 신화 Shinhwa, which is apparently a K-pop group that my friend likes that I did not know about (read: TYPICAL)). They were both pretty fun and “ooh’d” and “aah’d” pretty well for all the artists that came out to the event. Their opening and introduction of the judges was followed up with a locking performance and a mini-concert by Ooh La La Session. You may not see it in this photo but there was actually a drone flying around the entire time taking shots of the event. Damn, technology you go hard.

But this is a film festival and I came here for the movies. So brace yourself for a review of the 11 screenings I attended.

“Partisan” (Australia) Direction by Ariel Kleiman

The opening film was a film that actually competed at Sundance and let the world know that a slick new director was worth watching. From the frame in, it became clear that our eyes would be meshed deeply with director Ariel Kleiman’s camera. Dark lights guided us through the lives of a cult father by Gregori (Vincent Cassels). Watching, the implicit backbone of the story gains tangibly in a style that parallels the revelation of Gregori’s manipulation made by his eldest son, Alexander (Jeremy Chabriel). The revelation builds off of an incredible series of lines delivered by the littler voices of the community, played by actors as young as 6, but the whistle is not blown until Leo (Alex Balaganskiy) and his mother Rosa (Katalin Hegedus) join in unexpectedly, with foreshadowing reverberating as soundly as the pistol Alexander wields to assassinate Gregori’s enemies. When Alexander witnesses Gregori lie about Leo and Rosa’s disappearance after a spat over killing chickens, who happen to be the closest living relative s to triceratops. After the birth of his little brother, Tobias, Alexander realizes he needs to protect his family from Gregori, who is a bigger threat to them than the dangerous world he espouses to protect them from. The direction felt strong as did Alexander’s growth. Unfortunately, the story and female roles did not.

“The Pietá in the Toilet / トイレのピエタ” (Japan) Direction by Matsunaga Daishi(松永大司)

And the morning started with a world premiere and a feature debut for Matsunaga. Enter Tokyo. High above with only a brace keeping you from falling into the urban abyss. Such is the day in the life of Hiroshi (Noda Yojiro / 野田洋次郎), an artist turned window cleaner. Then with the girlfriend of art’s past, it becomes known that Hiroshi no longer is okay. Advanced stomach cancer is a painful thing and the plot hammers that reality home, but no nearly as loud and clear as the provocative (in all sense of the word) Mai (Sugisaki Hana / 杉咲花). While Hiroshi seems to run away further from the roads that would lead to a happy life, we see that Mai is trying constantly to escape from the boulevard of broken dreams designed by her absent father, neglectful mother, senile grandmother, and nonexistent boyfriend. Her sound of angst permeates in sequence with the dark realities of life with cancer Hiroshi faces inside the cancer ward, especially with the young but ever optimistic Takuto (Sadawa Riku / 澤田陸) and the oblivious yet wise Yokota (Lily Franky / リリー・フランキー). The story is outlined with foreshadowing and parsed with awkwardness that envelopes you into the tale despite the slow buildup. While some of the cast is expendable, there is a fantastic chemistry among them that is sharpened by well-executed female roles, especially Takuto’s mother (Miyazawa Rie / 宮沢りえ), and a musician turned actor. Enter for the characters but stay for the final exhibit and you shall be pleased.

“Alice in Earnestland / 성실한 나라의 앨리스” (Korea) Direction by Ahn Gook-jin (안국진)

Three cheers for Ahn’s third film and what could very well become a cult classic like the films it mimics. Vivid. Colors quite vivid. So vivid they are humorous. They became part of the twisted joke that is Soo-nam’s (Lee Jung-hyun / 이정현) poor luck in her inability to save and take care of her handicapped husband (Lee Hae-young / 이해영), who may debatably have even poorer luck. The story seems quite unrealistic but that does not keep you from joining in on the fun. With camera-work and irony that alludes to Taratino and characters and dark humor and characters that allude to Bong Joon-ho (봉준호), this movie seems like it’s waiting to be discussed in a college dorm room late into the night, maybe even without the help of a joint. The runtime is only for 90 minutes but somehow the story moves fast enough that your attention does not waver, yet slow enough that you feel like you’ve been with characters for ages. Although still up for debate, the movie seems to have the right level of gore, but fair warning for the faint of heart. However, let’s be honest, you may die from the guilt-filled laughter before the blood can phase you.

“Speed / 스피드” (Korea) Direction by Lee Sang-woo (이상우)

Do you remember that story of the four friends that somehow ended up making some poor decisions ruining their lives and friendship in the process? Yeah. Well do you know how it would be liked if you turned it up a few notches? Yeah. Well, try to turn it up a few more levels on the ridiculous scale. From the get-go, it seemed clear this film had one aim: milk Korean box offices for their work. That cheesy stereotype you have for Korean movies is exploited frequently throughout the story. Essentially, the film felt like a grab-all of every clichéd trope out there and they tried to throw a few novel ones for good measure. The few redeeming qualities resulted in gasps from the audiences (read: homosexuality). If anything, watch this film not for the story itself but the reactions of those who are watching.

“0.5mm / 0.5ミリ” (Japan) Direction by Ando Momoko (安藤桃子)

Patience is a virtue, especially for this 196 minute film. Yet for those brave enough, you will be rewarded on many levels. For those who fear they might not be strong enough, let the music carry you through because it never misses a beat. The melancholy hits as you go through the slow chapters that evolve with common themes. Keep track of the morals as they will end up unraveling the cries behind the words and sounds of the wandering ex-caretaker (Ando Sakura / 安藤サクラ). Do not be fooled by the seemingly calm demeanor of the young woman you first meet. Then again, maybe you should because it will make the changes that much finer.

“Escobar: Paradise Lost” (France, Spain, Belgium) Direction by Andrea di Stefano

Alternative history dramas are hard to execute. For starters, the alternative history nature of it should be salient. Secondly, they should follow just as logically as the original story. Lastly, the characters should be convincing enough to believe the pseudo-reality. “Escobar” fails on all these counts despite having a remarkable Escobar with Benicio del Toro and a Spanish that reminds you of Colombia. If you want a less irritable account of Pablo Escobar, you may be better off watching the History Channel.

“Yanji / 연길 ” (Korea) Direction by Park Gi-yong (박기용)

I would like to disclose first that this was the only documentary I watched during the film festival and so I lack the ability to make certain relative comparisons. However, if I could, and I firmly stand by this point, I believe a home video of someone going to defecate would likely be both more informative and entertaining than this pathetic attempt at limelight masked as “art”. Honestly, films like these and individuals that believe such films are worth submitting are the reason independent film not only may not be taken seriously but also be the recipient of ridicule from both inside and outside the film world. The 100 minutes would have been better spent under torture because then maybe one could at least feel something.

“Today / امروز ” (Iran) Direction by Reza Mirkarimi (رضا میرکریمی)

Iran is a foreign powerhouse for stories and after watching “Today”, it makes plenty of sense why the film was chosen as the Iranian entry for the Foreign Language Film category for the 87th Academy Awards. The power of silence and ridicule is consistent and uncomfortable. Yet, the film progresses on and on with it layers that keep you thinking. The subtleties in the lines delivered by an excellent supporting cast (including Shabnam Moghaddami and Roozbeh Hesari) make the ceaseless digressions by the delivering Sedigheh (Soheila Golestani) and the ever-silent Youness (Parvis Parastui) all the more grim. Yet somehow, after it all, it feels like the light finally showed some optimism for the Iran of tomorrow thanks to a man from yesterday.

“Coin Locker / 코인라커” (Korea) Direction by Kim Tae-gyeong (김태경)

Not nearly as self-mocking as its festival cousins, the film cannot escape stereotypic expectations. The logline even signaled some home that was thoroughly extinguished by the recycled themes and scenes of misogyny, gangsters, and addiction. The child with autism was an accessory poorly elaborated and insignificant to the story. You have seen this movie often in Korea, it just a tiny bit different from past flavors, but very much not worth your money unless you just want to waste it.

“Warm After All / 짐작보다 따뜻하게” (Korea) Direction by Lee Sang-min (이상민)

Do you love Pororo? You may also equally adore the voice behind the lovable penguin as the troubled mother, Eun-kyeong (Lee Seon / 이선). In her first live action debut, you feel the gravity of losing a child pierce your every fiber slowly as scenes progress. The denial seems all the more appropriate but the emotional chaos moves toward an equilibrium with the resilience of her ex-husband, Sangmoon (Im Hak-soon / 임학순). With a painful realness, one needs to remind themselves this is but a merely a film, scripted, crafted, edited. Yet, even moments after you make your way towards home and spend time with your own family and friends, you may find the translated loneliness linger and slow each step and weigh each breath. However, if you follow the film’s moral well and just let the void be, you’ll find yourself naturally return to the happiness you may have forgotten that existed just moments ago.

“To Be Sixteen / 소년” (Korea) Direction by Kim Hyun-seung (김현승)

Oh, to be sixteen. So naive, so bold, so unsure. Those feelings run in cycles with each interaction that unfolds. You gain the angst of the curious characters in front of you. You may pity them for their false bravery and you may shame them for their untimely regret. Nevertheless, Sejun (Kim Joo-yeob / 김주엽), Jin-young (Cho Kyu-hyun / 조규현), and Su-gyeong (Lee Joo-Woo / 이주우) are the arrogant but pitiful teenagers you want. They are the ones you want to see overcome their hidden jealousies. They are the ones you want to see wise up in the face of a situation they clearly cannot control. They are the ones you want to see fail and get back to try once more at their scarred yet beautifully nostalgic friendship. It may not be the perfect film but it captures the essence of those wild and chaotic years you love and hate all at once and maybe want to live vicariously once more. Let that be this film.