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Korea Herald
10-05-2025
- Entertainment
- Korea Herald
Interview: Bella Kim and poetry of identity
In 'Winter in Sokcho," displacement becomes creative advantage through Bella Kim's nuanced portrayal of mixed identity at the margins Rarely does an actor encounter a role that mirrors their own life experience with uncanny precision, especially for a debut performance. For Bella Kim, the protagonist of the French-Korean film "Winter in Sokcho" that recently made its Korean premiere at the Jeonju International Film Festival, the boundary between character and self proved remarkably thin. When Kim arrives at a cafe in Jeonju, having navigated through a sudden downpour, she carries herself with the effortless poise you'd expect from a Paris runway model -- which she is. For the past eight years, Kim has built a successful modeling career in France, with no prior acting experience before this role. Her casting wasn't a mere happenstance, but the result of a meticulous search by the film's director. "The production team was specifically looking for someone who could speak both Korean and French fluently," Kim explains. Though she speaks with an easy warmth, there's a contemplative depth to her words that suggests years of careful self-reflection. "Since the character needed to be tall -- the director didn't want the typical power dynamic where an Asian woman appears physically smaller than her Western male counterpart -- they contacted several models working in Paris." After three months and multiple auditions, Kim secured the role that would become her acting debut. Based on Elisa Shua Dusapin's award-winning novel, "Winter in Sokcho" follows Soo-ah, a biracial woman working at a guesthouse in the seaside town of Sokcho on the east coast. Her routine existence is disrupted when a French graphic novelist, Yan Kerrand (played by Roschdy Zem), arrives at the establishment seeking artistic inspiration. What drew Kim to the project wasn't the character's complexity but something far more immediate -- its setting. "When I first heard about the project called 'Winter in Sokcho,' I was totally caught off guard," she says. "I actually lived in Sokcho for about five years as a child. My dad still lives there." The coincidence soon revealed deeper connections. Kim discovered that beneath the geographical familiarity lay profound parallels between herself and Soo-ah. Both women navigate the complexities of existing between worlds, though their journeys have taken different paths. While Soo-ah is half-French and has never left Korea, Kim felt like an outsider in her home country long before relocating to France. "I actually struggled more with my identity while living in Korea," she reflects. "I was always tall with a deeper voice and darker skin. I kept wondering why I was so different from everyone else. Even finding shoes was impossible -- women's shoe sizes only went up to 250 millimeters when I lived here." That sense of displacement was compounded by the the weight of academic expectations. "In school, teachers would constantly map out this ideal path: attend an elite university, secure a prestigious job, follow this prescribed life," she says. "Everyone around me seemed to fit perfectly into that narrative, but I couldn't envision myself in it. The future they described felt alien to me." Her second chapter in Paris offered an unexpected sense of belonging. "I found that Paris actually accepted me more fully as a woman, physically and personally. It's such a cosmopolitan place with many people who share similar experiences." The film maps another terrain of inner conflict through Soo-ah's fraught relationship with her body -- a narrative thread that unspools alongside her identity struggles with equal complexity. The character hides her body beneath oversized clothes and flinches at her mother and boyfriend's casual, but dogged, suggestions about having cosmetic procedures. These everyday negotiations with judgment accumulate, creating a portrait of alienation not just from belonging, but from the physical self. That dimension of the story struck profound chords with Kim, whose professional life has been defined by external evaluations of her physical form. "I've definitely had my own struggles with body image," she says. "In modeling, some brands want one type of body, others prefer something different. I've spent years wondering what I truly want for myself." Her personal experience informed one of the film's most challenging scenes, where Soo-ah, after being emotionally rejected by Yan, binges on food from the guesthouse kitchen before purging it all out. "When I read the script, I told the director I could do this better than anyone. Shooting that scene gave me an important realization: My vulnerabilities could become my strength." For a newcomer to acting, Kim faced an exceptionally nuanced role. The film presents particular challenges in its restraint -- it communicates through silences and gestures rather than exposition, save for a handful of emotionally charged moments. At its center lies an ambiguous relationship between Soo-ah and the older French artist that defies easy categorization. When asked about the nature of this relationship -- whether it represents romantic attraction, a search for a missing father figure, or perhaps something more abstract like a yearning for a wider world -- Kim offers a refreshingly straightforward interpretation. "It's a love story. All relationships are fundamentally about love. The intensity of emotions -- curiosity, anger, sadness -- that Soo-ah feels toward Yan can only exist because of love in some form." The production itself presented unique challenges as well. "The screenplay was written in French and then translated into Korean," Kim explains. "Since neither the director nor the co-writer speaks Korean, the actors became the ones who caught linguistic nuances that didn't translate well." She describes negotiating cultural expressions during filming: "There was a line where the character was supposed to say 'That French guy is rude' in Korean, but I explained that in Korean culture, it would sound strange for someone to call an older person 'rude' -- it would be more natural to say they're 'inconsiderate.' The director insisted on keeping 'rude,' so we had these fascinating conversations about cultural differences." The film's denouement arrives with quiet force. In the final sequence, Soo-ah appears transformed in new clothing, standing confidently at the shoreline. The film's recurring hand-drawn animation -- which punctuates emotional turning points throughout -- shows a woman in full stride, finally in motion after stasis. "The final scene was special -- we didn't discuss much about how to shoot it. The director just said, 'Stand there and look at the sea.' When I got into position, for the first time, I felt like Soo-ah and I had completely merged. I didn't need to act." That moment crystallized what Kim had learned throughout the filmmaking process. "I had been giving Soo-ah all the love I wished someone would give me. At some point, I realized Soo-ah is me, and I am Soo-ah. "Through her, I learned how to love myself."
Korea Herald
01-05-2025
- Entertainment
- Korea Herald
Jeonju film fest opens 26th edition
10-day cinema showcase in Jeonju features 80 world premieres JEONJU, North Jeolla Province — The Jeonju International Film Festival kicked off its 26th edition Wednesday, with 224 films from 57 countries scheduled to screen across multiple venues in Jeonju, North Jeolla Province, during its 10-day run through May 9. The festival's opening ceremony at the Sori Arts Center drew film enthusiasts who filled the venue hours before the event. The red carpet welcomed an array of film professionals, including actor Lee Jung-hyun, who is the festival's "programmer of the year," former Wonder Girls member-turned-actor Ahn So-hee and director Bae Chang-ho, known for his 1987 hit romance "Our Joyful Young Days." Actors Kim Shin-rock and Seo Hyun-woo, who have both previously appeared in films screened at the festival, hosted the ceremony. In their welcoming remarks, executive committee co-directors Min Sung-wook and Jung Jun-ho spoke about the festival's focus on independent cinema and experimental approaches. The festival presented a posthumous special achievement award to screenwriter Song Gil-han, a Jeonju native who died in December. His son, Song Geun-su, accepted the award and became visibly emotional as he shared memories of his late father. "When my father was on his deathbed with occasional bouts of delirium, he often thought of the hospital room as Jeonju, and everything he said was related to film," the Song said. "If he were here today, he'd tell everyone to keep their heads up and press on." Following organizing committee chair and Jeonju Mayor Woo Beom-ki's official declaration opening the festival, singer-actor Kim Pureum, who stars in two films screening at the festival — "Save" and "Clear"— delivered the opening performance. Ahead of the evening's opening ceremony, festival organizers held a special press screening of the opening film, Romanian director Radu Jude's "Kontinental '25," followed by a press conference with the film's lead actors. Set in Cluj, Romania, the smartphone-shot drama follows a bailiff experiencing a moral crisis in the aftermath of a homeless man's death upon being forced out of a shelter. The film won the Silver Bear for best screenplay at February's Berlin International Film Festival. "'Kontinental '25' is a bold film shot on smartphone that reflects what kinds of images suit our era," co-director Min Sung-wook said during the postscreening press conference. "We're pleased to introduce it as an alternative film freed from constraints typically imposed on large-scale productions, which aligns with Jeonju IFF's identity of seeking alternatives since its inception." The film's lead actor Eszter Tompa, who plays an ethnic Hungarian bailiff in Romania, described working with Jude as "a wonderful experience." "We had a long preparation meeting online since we live in different cities," Tompa said during the press conference. "After preparation, the shooting was very short — about 12 days, very fast. He knows exactly what he wants." The press conference touched on the ethnic tensions that form a key theme in the film, with a Hungarian journalist asking about Romanian-Hungarian relations. Tompa, who is Hungarian and divides her time between Berlin and Cluj, responded by noting recent political developments. "After we finished shooting, there have been elections and the extreme right is rising in Romania now," she said. "The film is not exaggerating, and it's really severe what's happening. The far right is rising in the whole of Europe." Eighty films will make their world premieres at Jeonju. A special section titled "Again, Towards Democracy" will present six documentaries examining the erosion of democratic institutions and governance worldwide, offering reflections on contemporary political challenges. The festival concludes May 9 with the documentary "In the Land of Machines," from director Kim Ok-young, which follows three Nepali migrant workers in South Korea.
Korea Herald
30-04-2025
- Entertainment
- Korea Herald
Jeonju Intl. Film Fest kicks off 26th edition with 224 films
The Jeonju International Film Festival, South Korea's premier platform for indie and art house cinema, kicks off Wednesday featuring 224 films from 57 countries. The 26th edition of the annual festival will begin its 10-day run with an opening ceremony at 6:30 p.m. at the Sori Arts Center in Jeonju, located about 190 kilometers south of Seoul. Following the ceremony, the Romanian film "Kontinental '25," directed and written by Radu Jude, will open the festival, JIFF said. The comedy-drama film depicts the moral crisis a bailiff suffers after a homeless man she tries to evict commits suicide. It won the Silver Bear for Best Screenplay at the 75th Berlin International Film Festival in February. JIFF will conclude with the Korean documentary film "In the Land of Machines," directed by Kim Ok-young. The film follows the lives of three migrant workers from Nepal employed in South Korea. Throughout the festival, 224 movies will be screened across Jeonju. Among them, 80 films will have their global premieres at the festival. A special section focusing on democracy will feature six films that examine political upheaval around the world, offering reflections on South Korea's recent political crisis following impeached former President Yoon Suk Yeol's brief imposition of martial law. The "J Special: Programmer of the Year" section, now in its fifth year, features actress Lee Jung-hyun. She has selected three films to present: Park Chan-wook's "Sympathy for Mr. Vengeance," Hirokazu Koreeda's "Nobody Knows" and the Dardenne brothers' "L'Enfant." JIFF will also screen works featuring the actress, including her debut movie, "A Petal" (1996). (Yonhap)
Korea Herald
02-04-2025
- Entertainment
- Korea Herald
Jeonju film fest unveils full selection under 'beyond the frame' banner
Korea's premier indie film festival returns with 224 films from 57 countries amid global political uncertainty The Jeonju International Film Festival unveiled its lineup for its 26th edition Tuesday at Seoul's CGV Yongsan, showcasing 224 films from 57 countries under the slogan "Beyond the Frame." Opening the festival is Romanian director Radu Jude's "Kontinental '25." The Berlin Silver Bear winner follows a woman who starts to question societal norms after witnessing an unexpected death. Shot entirely on smartphones, the film embodies what programmer Moon Sung-kyung called "the pioneering spirit of the festival, which has been breaking away from conventional film formats." The closing film, "In the Land of Machines," marks Kim Ok-young's directorial debut after 40 years as a documentary writer. It follows three Nepali migrant workers in Korea who contributed to a poetry collection titled "This Is the City of Machines," offering an outsider's gaze into Korea's mechanized labor systems through poetic language. Among this year's diverse sections, "Again, Towards Democracy" stands out as a particularly timely addition examining recent challenges to democratic institutions across the globe. The program features six documentaries exploring political turmoil worldwide, including "The Last Republican," which follows Republican congressman Adam Kinzinger after he voted to impeach President Donald Trump following the Jan. 6 Capitol riots, and "At This Moment, in the Nation's Sky," a chronicle of Brazil's contested election and subsequent storming of government buildings. "Since Dec. 3, 2024, South Korea's democracy has faced a crisis, with ongoing chaos and aftermath," said programmer Chun Jin-soo, referring to President Yoon Seok Yeol's short-lived declaration of martial law. "We assembled this special section to reflect on similar democratic crises around the world that may feel all too familiar to us now." Actress Lee Jung-hyun, featured as this year's "J Special Programmer," curated a personal selection of films for the festival. The versatile performer, who debuted at 15 in Jang Sun-woo's "A Petal" (1996) before becoming a pop star and later returning to acting, selected six works to screen, including three she appeared in and three from international directors she admired. Her selections include Park Chan-wook's "Sympathy for Mr. Vengeance," which she considers his "best work" despite its commercial failure. "It's aesthetically and visually flawless, a film that expanded my perspective on cinema," Lee said. She also chose the Dardenne brothers' "The Child" and Hirokazu Kore-eda's "Nobody Knows." Reflecting on revisiting "A Petal" after decades, Lee said, "I couldn't watch it at 15. The filming was incredibly difficult — I got hurt repeatedly during shoots because I couldn't act properly." She credited Park Chan-wook with helping her to appreciate the film years later, calling it "a poetic, intense expression of Gwangju's pain" — a reference to the film's harrowing depiction of the 1980 Gwangju Democratic Uprising and subsequent military massacre. Lee will also debut her directorial short "Toe-Tapping Tunes" in the festival's Korean Cinema section. "Since my twenties as a singer, I've always dreamed of directing one day," she said. The film follows a woman raising money for her dying mother's hospital bills while dealing with her own congenital condition. The festival continues its tradition of embracing challenging films despite budget constraints affecting Korean cinema. Executive Committee co-Director and veteran actor Jung Jun-ho stressed that with support from sponsors and Jeonju City, they've maintained program scale to "showcase the achievements and values of independent cinema." The 26th Jeonju International Film Festival will take place from April 30 to May 9 across multiple venues in Jeonju's cinema district in North Jeolla Province.
Korea Herald
10-02-2025
- Entertainment
- Korea Herald
Jeonju film fest seeks volunteers as local films pack lineup
The Jeonju International Film Festival is gearing up for its 26th edition with an annual call for volunteers. The festival, which celebrates indie and experimental film, is slated to run from April 30 to May 9 at Jeonju's Cinema Street. The festival is seeking 400 volunteers to staff 12 departments, from Korean and international film programming to marketing and technical support. The festival welcomes applications from anyone 18 or older residing in Korea, including foreign residents proficient in Korean. A special "senior" category accommodates applicants over 40. Applications close at 4 p.m. on March 5. Candidates under 40 can apply through the volunteer section on the festival's Korean-language website, while senior applicants should email their resumes using a form available for download. The festival will announce selected volunteers on March 26. Volunteers will receive stipends for meals and transport, an official uniform, a participation certificate and a commemorative album. They may also receive credit for public service hours. Despite headwinds in Korea's film industry, the festival received 1,835 Korean film submissions, up 234 from last year. The Korean competition section, which highlights first and second-time directors, attracted 165 entries, while the short film competition pulled in 1,510 submissions. The regional competition category, exclusively for films with at least 50 percent of their scenes shot in North Jeolla Province, where Jeonju is located, received 46 entries. The noncompetitive feature section, open to feature-length films of all genres, drew 114 submissions. The total submission count hit 2,497, including 662 international entries. Narrative films dominated both the feature and short categories, followed by documentaries as a strong second. "Our industry faces challenges, yet filmmakers continue to trust us with their thoughtful work," Jeonju IFF programmer Moon Seok said. "We aim to uphold our tradition of films that connect with audiences and critics alike."
