The Busan International Film Festival, Korea, is Asia’s largest film festival in terms of both size and importance in the global festival calendar. I had never been there, and therefore, my joy knew no bounds when I was asked by one of my employers, the Hollywood film trade magazine Variety, to be part of the coverage team. Last week, a 12-hour flight and a three-and-a-half- hour train ride to Busan left me somewhat deflated, but the thought of all the films I was going to watch was a stimulant stronger than caffeine. Paolo Sorrentino’s Youth , Jia Zhangke’s Mountains May Depart , Ryoo Seung-wan’s Veteran , to name just three, were part of a seemingly endless list of cinematic orgasms.
Sadly, it wasn’t to be. The Variety editors decided to make me work for a living, and I was required to file several news reports a day for the daily festival edition of the magazine. It became an endless round of press conferences, interviews and networking parties, and I left the festival not having watched a single film. Obviously, I had watched all the South Asian films in the programme much earlier, because the filmmakers were kind enough to share them with me, but since I am not on first-name terms with Paolo Sorrentino, Jia Zhangke, Ryoo Seung-wan or Sion Sono, whose The Virgin Psychics I was hoping to catch to appease my prurient side, I got to watch none of these.
Lest this turns into one long lament, let me touch upon the plus points. The festival was a great networking opportunity, and I got to meet filmmakers from all around the globe. I ran into Stephen Dunn, director of Toronto festival Best Canadian Film winner Closet Monster , as he was checking in. He was moaning about having to go to a networking party after a long flight. I reminded him that he was all of 26 years old. While on Canada, director Jason R. Goode and producer Dylan Jenkinson turned out to be delightful people, and I look forward to watching their survival thriller Numb soon.
The Indian contingent was out in force, but you’ll read about them and their films from my esteemed colleagues at this newspaper soon enough. About our neighbours you won’t, so here you are. Jamshed Mahmood Raza’s Moor , an austere study set against the backdrop of the declining railway system in Baluchistan, is Pakistan’s entry for the Oscars and is a riveting watch. Hameed Sheikh, the film’s leading man, turns in an electric performance and it was a pleasure to listen to him discussing his craft. His secret? No make-up. Ever.
It was again a privilege to spend time with Bangladesh’s Mostofa Sarwar Farooki, director of Bangladesh’s Oscar submissions Television and Third Person Singular Number . He’s a true global talent and he’s got an amazing global trotting project coming up. Abu Shahed Emon, the director of Jalal’s Story , Bangladesh’s Oscar entry this year, is a film student in Korea and he was full of insights as well.
Hope to catch a few films at the BFI London Film Festival next week, unless, of course, I am forced to work for a living.
Courtesy of Cinema Plus