Latest news with #27thFarEastFilmFestival
New Straits Times
4 days ago
- Entertainment
- New Straits Times
Kim Bo-sol's animation The Square captures North Korea — without stepping foot there
THE contrast couldn't have been starker. On the closing night of the 27th Far East Film Festival in Udine, northern Italy, Korean director Kim Bo-sol and production designer Oh Yu-jin stepped onto the stage to introduce The Square — their animated feature about a Swedish diplomat stationed in Pyongyang, North Korea, navigating isolation, surveillance and forbidden love. As the warm spring air lingered outside, Oh invited the audience to leave behind Udine's sunny, festive streets and immerse themselves in a stark, snow-covered Pyongyang. For just over an hour, the audience inside the Teatro Nuovo Giovanni da Udine was transported into an animated world of cold skies and quiet streets, where freedom is scarce and solitude impossible. At its core, The Square follows three figures: Isak Borg, the Swedish diplomat; So Bok-joo, a traffic officer and his secret lover; and Myung-jun, Borg's conflicted interpreter. Through their intertwined stories, the film offers a rare imagined glimpse into everyday life in one of the world's most secretive states — a place where heavy surveillance leaves no room to be truly alone. Yet despite the setting's political weight, The Square is less a statement on regime or ideology than it is an intimate human drama about longing, loyalty and the quiet courage it takes to grasp for connection in an isolating world. Its debut arrives at a time when Asian animation is commanding unprecedented global attention. China's Ne Zha 2, the story of a rebellious demon boy battling his fate, has smashed records to become the highest-grossing animated film of all time with over US$2 billion at the global box office. Riding this rising wave of interest, The Square is set to travel next to New York's Tribeca Film Festival and France's Annecy International Animation Film Festival this June, with hopes for a wider international release later this year. A labour of love nearly six years in the making, The Square was largely shaped by Kim and Oh's relentless effort — a fact both filmmakers reflected on as they sat down for a quiet conversation on the sidelines of FEFF. How did the two of you come together as a team to work on this project? Kim Bo-sol: When I was making my first short film Home (2019), Yu-jin and I were already dating — we're married now. She majored in fine art and was great at drawing, so I asked if she'd help create the backgrounds. That collaboration became the start of our creative partnership. How big was your crew for The Square? Kim: It was essentially just the two of us. The budget was tiny, so we couldn't afford much of a team. Oh Yu-jin: In pre-production, we started with four people — us, a producer and a friend who helped with storyboarding. When production began, we gathered a few artists to assist with backgrounds and character drawings. But eventually, due to limited funds, it came down to us again. That's why it took nearly six years. Where did the idea for The Square come from? Kim: It began in high school. We had a substitute teacher who introduced us to Conversation (2005), a book by journalist Lee Yeong Hee, known for advocating more nuanced views on North Korea during South Korea's military dictatorship era. It left a lasting impression. Later, as a film student, I read an article interviewing a Swedish diplomat who had spent three years in Pyongyang. When asked about his experience, he said simply, "I was so lonely." Because of constant surveillance, even casual drinks with colleagues were impossible. His only solace was cycling in circles around a large empty square. That haunting image stayed with me — and became the seed for this film. So, Isak Borg was inspired by that diplomat? Kim: Yes, though I wanted to avoid overt political messaging. That's partly why Borg is Swedish — Sweden maintains neutral diplomacy with North Korea. But ultimately, this film is about both Koreas. At the end, when Borg dyes his hair and speaks with a South Korean accent, he symbolically becomes a figure representing the South. And Bok-joo, the traffic officer? Kim: She's fictional, though her job exists in Pyongyang. She's the bravest character in the film, despite limited screen time. We wanted her to stand out. Oh: With so few scenes, it was important that Bok-joo left a strong, assertive impression. How did you research Pyongyang's visuals, since you couldn't visit? Kim: As South Koreans, we legally can't go to North Korea. So, our research was entirely online. The images we found were often distant and staged, but surprisingly, Instagram proved helpful. Tourists posted photos where you could see citizens and scenery up close. After my first script draft, I made a list of questions and was lucky to interview two former Pyongyang residents. One of them, a former MSS (North Korean secret police) member, became a key coordinator for our film. Those interviews gave us invaluable insight. What was the biggest visual challenge? Oh: Portraying Pyongyang authentically. In South Korea, depictions of North Korea are often propaganda-like — grim, lifeless and covered in slogans. I wanted to avoid clichés and focus on the fact that it's still a city where people live ordinary lives. Balancing that with the unavoidable gloom of its environment was the hardest part. What kind of support did you have for this project? Kim: Through the Korean Academy of Film Arts (KAFA), we received initial state funding — about 100 million won, or US$80,000. But KAFA projects aren't allowed to accept outside funding, so we had to stretch that for the entire production. Oh: Honestly, the biggest struggle was survival — feeding ourselves while making the film. The budget was our constant challenge.
Japan Forward
10-05-2025
- Entertainment
- Japan Forward
Japanese Director Saki Michimoto Brings New Perspectives to Italy's FEFF
Independent director Saki Michimoto has captured international attention with her debut feature, See You Tomorrow . The lyrical drama marks her down as one of the most promising new voices in Japanese cinema. Screened on May 1, the film played at the 27th Far East Film Festival in Udine, northern Italy. Joining the director at the event's Teatro Nuovo Giovanni da Udine were the film's stars, Makoto Tanaka and Risa Shigematsu. "It was an emotional experience," said Michimoto. The introduction of her talent to a European audience can only boost a career in cinema that is still in its formative stages. Michimoto first showed the world a glimpse of her talent during her student years. She won the Special Jury Prize at the 2018 Pia Film Festival for her short film 19 Years Old . Then, in 2021, she participated in the New Directions in Japanese Cinema project run by the Agency for Cultural Affairs, where she directed the short, The Youngest Daughter . See You Tomorrow explores the relationships between young photographers and their dreams ー both unfulfilled and realized. It was also nominated for the 2024 Kaneto Shindo Awards. On the sidelines of the 2025 FEFF, Michimoto sat down to talk about her career as it has played out so far, including her debut feature and her time in Italy. (Courtesy of the filmmaker) Yes, there are many autobiographical elements in the movie. This is because the main character, Nao, is based on my personal experiences. But you can also find parts of myself in other characters, like Sayo and the others. What mattered most to me was keeping an honest approach when portraying each character's specific traits. They are all drawn from my real experiences. Yes, I feel that. I'm turning 28 this year. I see that other directors my age are starting to gain worldwide recognition for their talent. So, in a way, I felt the passing of time and started pressuring myself. Having this feature film here in Udine this year is extremely important to me, and I will do my best not to be secondary. I think that when you're taking pictures, the person behind the camera is in complete control of the shutter. Cameras are tools that offer unilateral control, one-way control over what's happening. So, from this point of view, rather than simply depicting the subject, I would say that each photograph somehow reveals the relationship between the photographer and the person being photographed. Saki Michimoto and the film's stars caught celebrating their debut. Perhaps, in this awkwardness, there is something of myself. But I can also say that I believe when several people share the same direction or goal, yet begin comparing their paths to one another, something unspoken starts to grow in their hearts. And out of that, a certain kind of atmosphere emerges. It's a lot of fun! You know, last year [2024] the movie was released in Japan. At that time we tried reaching out to several film festivals, but we didn't get very far. That's why I'm extremely happy to see so many viewers here, and their lovely reactions. I'm really enjoying this experience. It was completely different. Here in Italy, when people get emotional about a particular scene, you can see their feelings through their body language. They express what they're feeling physically. They're also very sensitive to small details and react clearly. In Japan, on the other hand, people tend to be extremely shy, and it's often impossible to know what's going on in their minds. Title: See You Tomorrow Director: Michimoto Saki Starring: Makoto Tanaka, Ken Okouchi, Risa Shigematsu, Takuro Akiyama, Ryota Matsuda Running time: 99 minutes First released: Japan, September 28, 2024 Author: Eliska Nodlova Eliska Nodlova attended the 27th Far East Film Festival as part of the FEFF Campus for aspiring critics, writers, and film industry professionals.
