Where does the fascination with the undead come from? Is it the love of horror, the repellent zombies’ behaviour or the taste of adrenaline-filled adventure? Hard to say, as the zombie-loving audience varies as much as the character of zombies themselves. Zombies have been present in cinema for quite some time, but they only found […]

Steven Yeun greets me with a big smile and a warm handshake as we meet at the Mayfair hotel in London on a cold October morning. We sit down and chat about what it means to be a Korean-American, his latest production Burning, and working with Lee Chang-dong. Born in Seoul, South Korea and raised […]

The attempts to translate Haruki Murakami‘s prose into the cinematic language have so far mostly ended in spectacular disasters, or – in the best case – garnered mixed reviews, probably due to the specific style of the writer. But the fates have changed when Lee Chang-dong, the director of Poetry and Peppermint Candy, returned after 6 years of hiatus with Burning – a […]

It has been almost three years since we last spoke to Teo Yoo, and looking at his fast-growing list of projects, he has kept himself very busy. Among his most recent projects that the audience was able to enjoy was his phenomenal portrayal of Viktor Tsoy (one of the Soviet rock pioneers) in Leto (Summer) by […]

The Poet and the Boy is a feature debut by Korean filmmaker Kim Yang-hee, starring Yang Ik-june, an actor and a filmmaker himself, who gained the public attention and won several awards with his semi-autobiographical feature debut, which he wrote, directed and played the leading role in – the 2009 indie hit Breathless. With her […]

The Poet and the Boy (Si-e-nui a-rang) is the feature debut for Kim Yang-hee; it premiered at Jeonju International film festival in 2017, and made its way to London Korean Film Festival this fall. The film stars South Korean actor and filmmaker Yang Ik-june, who is best known for his debut film, which he both […]

After the rather minor success, accompanied by mostly unfavourable critiques of his 2017 feature V.I.P, a film where mediocre imagination ruled the depictions of cruel treatment of women, which turned it into a prosaic, occasionally sickening narrative, Park Hoon-jung, who penned The Unjust (2010) and I Saw the Devil (2010), has finally made a proper […]