Busan International Film Festival (BIFF) has taken a remarkable journey over the past three decades.
Launched in 1996 as the pipedream of a group film professionals and academics, it has become one of Asia’s most important events for film, growing its programme from 173 titles in that inaugural year to more 300 films at its 30th edition, which runs September 17-26.
It has weathered political storms, a pandemic and a leadership shakeup in recent years and is embarking on a fresh start under festival director Jung Hanseok, who took on the role in March after a long search.
This renewed vision includes its first-ever Competition section, which will see 14 titles from across Asia compete for the inaugural Busan Awards. No Other Choice by Korean auteur Park Chan-wook will open the landmark edition, a selection Jung says is a “symbolic show of support for the struggling Korean film industry”, showcasing an accomplished work from a master filmmaker.
Before 1996, only three Korean films had ever been selected for Cannes. Since the launch of the festival, four or five are chosen every year, with the likes of Parasite and Park’s Decision To Leave proving award-winners among many others.
BIFF has proved a key part of this rise of Korean talent, along with the Asian Contents & Film Market which runs parallel to the festival and celebrates its 20th edition this year.
Ahead of the festival, Jung spoke to Screen about the challenges he faced in assembling the upcoming edition in just six months, why the decision was made to launch a competition after so many years and BIFF is helping contribute to the Korean film industry, which is struggling to recover post-pandemic.
How have you approached your first edition as festival director of BIFF?
Above all, I wanted to break away from the long-standing inertia within the festival’s internal operations. I believed that only by doing so could we create the foundation for meaningful and positive change. At the same time, I sought to look at the forest, not just the trees. I aimed to view the festival as a whole, rebalancing the programs accordingly. As a result, I believe we’ve curated a strong program this year. Since the press conference on August 26, I’ve heard numerous comments calling this year’s selection of films and guests “the best in BIFF’s history.”
What have you found to be the biggest challenge since taking on the role in March?
I haven’t encountered many difficulties but the short preparation time. I officially began my role as Festival Director on March 21, which gave me roughly six months to organize this year’s edition. The dedication of our hardworking staff made this possible. The good news for me is that I will have a full 12 months to prepare for next year’s festival.
How has a decrease in budget for the festival been reflected in your decision-making?
The overall operating budget for the festival has not decreased. To be specific, what was reduced was the national government subsidy. This year saw the lowest amount in recent years—less than 5% of the festival’s total budget. I believe it should be restored to at least the 2023 level. On the other hand, the city of Busan provided strong support this year, which was especially helpful in organizing the 30th edition. BIFF Chairman Park Kwang Su also played a crucial role in securing successful sponsorships. Thanks to these efforts, there are no limitation in festival due to budget constraints.
What impact has the earlier dates had on the festival, in terms of projected attendance and the programme?
Overall, the change in dates hasn’t had a significant impact. The weather is slightly warmer than in previous years, but we were mostly concerned about the risk of typhoons in September—which has fortunately not materialized this year.
Why was it considered important to introduce a Competition section?
We recognized that the festival’s long-standing New Currents and Jiseok sections, while meaningful, had limitations. When I asked others—and myself—what films had won those sections last year, most people couldn’t recall. Despite the pride we’ve taken in these programs, their real-world influence and visibility have been insufficient. It became clear that we needed a more robust and prominent competition structure—a new system, essentially.
That said, we’ve decided to limit the competition to Asian films. This new section can be seen as a consolidated evolution of New Currents and Jiseok. Through a curated lineup reflecting BIFF’s unique perspective, we aim to showcase and influence the current trends and future vision of Asian cinema. We’re already seeing positive results: for example, Left-Handed Girl, produced by Sean Baker, and Gloaming in Luomu by established auteur Zhang Lu might not have been invited without a competitive section. Additionally, since the lineup was announced, Leave the Cat Alone by Shigaya Daisuke and Vimukthi Jayasundara’s Spying Stars have gained sales interest, as reported by Screen. I expect the impact of this new section will only grow stronger over time.
Are there further new elements you would like to highlight?
Yes—our exceptionally rich guest lineup this year. The participation of high-profile guests has always been important, but it has become even more so in the post-pandemic era. A festival like Busan, which emphasizes audience engagement, especially benefits from this. Today’s audiences don’t just want to watch films in theatre—they want the full experience of meeting the guests behind the films. These interactions enhance their sense of connection and satisfaction. BIFF will continue to prioritize this experiential aspect moving forward.
What does it mean having a Korean filmmaking master such as Park Chan-wook opening this year’s 30th edition?
First, we considered what film audiences would truly want to see at the opening ceremony. We wanted a film that was both artistically accomplished and broadly appealing. Second, I saw this selection as a symbolic show of support for the struggling Korean film industry. Park Chan-wook has long been a pillar of Korean cinema, and No Other Choice represents one of his most personal, lifelong projects. This choice sends a message: to the audience, we offer excitement and quality; to the industry, we offer encouragement and solidarity.
What can you share about ticket sales at this stage?
At this point, just before the festival opens, it’s difficult to make definitive statements about ticket sales. However, based on current trends, it’s clear that more people are coming to watch films than in recent years. For instance, our Open Cinema section—held in a 4,500-seat outdoor venue—usually sees one or two titles sell out online. This year, four titles have already sold out, and others are seeing much higher reservation rates than usual. This kind of audience response is unprecedented for us.
The Korean film industry is facing major challenges at the moment, with declining attendance figures. Is there a way back from this decline and how might BIFF contribute?
A film festival alone cannot solve the crisis facing the Korean film industry. But as you pointed out, we can certainly contribute in meaningful ways. Choosing No Other Choice as the opening film is one example—it’s generating attention and raising expectations. With this year’s BIFF drawing such strong interest overall, I believe many of the Korean films showcased will also benefit from heightened visibility.
This reflects the positive impact of the festival. Film festivals are uniquely positioned to deliver intense, collective cinema experiences. BIFF aims to offer audiences an immersive, memorable time in theatres—something that may encourage them to return to their local cinemas afterward. Ultimately, the heart of the crisis is declining theatre attendance. Festivals can and should play an active role in reversing that trend.
Besides the Competition, what are you most excited about for this year’s festival?
I’m particularly excited about our Special Program in Focus, Vision section, Master Class, Cine Class, and the Forum BIFF. Instead of the usual three, we’re presenting five Special Program in Focus this year, offering diverse thematic focuses. The Vision section, previously dedicated to Korean films, has been expanded to include Asian cinema—providing a platform to discover new independent films and emerging directors across the region. We’ve also expanded our Master Class offerings and introduced Cine Class—lectures designed for devoted cinephiles. At the Forum BIFF, key industry players from across Asia will gather to discuss the pressing issues facing Asian cinema today.
What do you think makes Busan unique or different from other film festivals?
Busan’s emphasis on audience engagement is no accident. Each year, we see a surge of young moviegoers whose energy helps create BIFF’s unique atmosphere. That vibrancy—fueled by a passionate, youthful audience—is one of the clearest ways BIFF stands apart from other festivals. It’s been a defining trait since the beginning.
After the turmoil experienced by the festival over the past couple of years, does this 30th edition feel like a fresh start for Busan?
Yes, absolutely. The new beginning for BIFF is already underway. The level of anticipation surrounding this year’s festival speaks volumes.
Is there a particular message you want to get across about the festival?
Personally, I’m not one for slogans or grand messages. What matters to me is how the audience and the film community feel about this year’s festival. I hope they sense that things have changed—that the change in leadership has brought a change in results. I hope audiences could feel that difference.
Do you already have ambitions for future editions of BIFF? How do you see the festival evolving?
My immediate goal is to ensure that the newly introduced Competition section becomes well-established and effective. I’ve been hearing this joke a lot lately: “Is this year’s BIFF the last one? Are you quitting next year?” I take that as the highest compliment for the team’s hard work. It’s hard to set the long-term plan at this moment. For now, I’m focused on giving my all to each edition as if it were the last. If we do that year by year, the festival’s evolution will take care of itself—no grand goal required.