The Busan Film Festival will unspool from today until 13 October, once again boasting a programme that shines the spotlight on the most interesting voices in Asian cinema, but also adapting to an ever-growing intercontinental scope.

Opening with the world premiere of Beautiful Days [+leggi anche:
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scheda film], a Korean-French co-production directed by Jero Yun (Mrs. B., A North-Korean Woman [+leggi anche:
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scheda film], Letters [+leggi anche:
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scheda film]), the festival will screen a selection of world and international premieres of European titles to South Korean audiences. 

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The Flash Forward section will see the world premiere of Luzie Loose’s Swimming [+leggi anche:
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intervista: Luzie Loose
scheda film], Paolo Zucca’s The Man Who Bought the Moon [+leggi anche:
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scheda film] and Mohcine Besri’s Urgent [+leggi anche:
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scheda film], as well as the international premieres of Andrew Hulme’s The Devil Outside [+leggi anche:
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scheda film] (United Kingdom), Nikolaus Leytner’s The Tobacconist (Austria/Germany), Letizia Lamartire’s Venice-screened We’ll Be Young and Beautiful [+leggi anche:
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intervista: Letizia Lamartire
scheda film] (Italy), Moonika Siimets’ The Little Comrade [+leggi anche:
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scheda film] (Estonia), Martin Turk’s Good Day’s Work [+leggi anche:
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scheda film] (Bosnia-Herzegovina/Turkey/Slovenia) and Elena Trapé’s Málaga-awarded Distances [+leggi anche:
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intervista: Elena Trapé
scheda film] (Spain). 

European titles are also grabbing all the attention in the World Cinema section, with the international premiere of the Slovakian-Russian-Czech co-production Cellar [+leggi anche:
trailer
scheda film], directed by Igor Voloshin, on top of a wide array of films coming from the biggest festivals of the year, such as Rotterdam (Jesper Ganslandt’s Jimmie [+leggi anche:
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scheda film]), Berlin (Malgorzata Szumowska’s Mug [+leggi anche:
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intervista: Małgorzata Szumowska
scheda film]), Cannes (Alice Rohrwacher’s Happy as Lazzaro [+leggi anche:
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intervista: Alice Rohrwacher
scheda film], Pawel Pawlikowski’s Cold War [+leggi anche:
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Q&A: Pawel Pawlikowski
scheda film] and Ali Abbasi’s Border [+leggi anche:
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intervista: Ali Abbasi
scheda film]), Karlovy Vary (Radu Jude’s “I Do Not Care If We Go Down in History as Barbarians” [+leggi anche:
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scheda film]), Venice (Jacques Audiard’s The Sisters Brothers [+leggi anche:
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intervista: Jacques Audiard
scheda film], Laszlo Nemes’ Sunset [+leggi anche:
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intervista: László Nemes
scheda film] and Olivier Assayas’ Non-Fiction [+leggi anche:
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intervista: Olivier Assayas
scheda film]) and Toronto (Claire Denis’ High Life [+leggi anche:
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intervista: Claire Denis
scheda film] and Paolo Sorrentino’s Loro [+leggi anche:
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scheda film]), among many others. 

The rude health of the European-Asian co-production landscape is also plain to see in the A Window on Asian Cinema section, which will boast the international premiere of Koji Fukada’s new film, the Japanese-Indonesian-French co-production The Man From the Sea [+leggi anche:
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scheda film], and will include screenings of Naomi Kawase’s Vision [+leggi anche:
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scheda film], Phuttiphong Aroonpheng’s Manta Ray [+leggi anche:
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scheda film], Soudade Kaadan’s The Day I Lost My Shadow [+leggi anche:
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intervista: Soudade Kaadan
scheda film], Rahi Anil Barve and Anand Gand’s Tumbbad [+leggi anche:
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intervista: Rahi Anil Barve
scheda film], Wi Ding Ho’s Cities of Last Things [+leggi anche:
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trailer
scheda film] and the director’s cut of Jia Zhangke’s Ash Is Purest White [+leggi anche:
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scheda film].

Taking place during the festival, the Asian Film Market (6-9 October), will welcome 29 projects to the Asian Project Market, Asia’s biggest investment and co-production market. European (co-)produced projects are also in the mix, such as the market’s first Czech production, Tomáš Polenský’s The Pack [+leggi anche:
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scheda film], co-produced by Latvia, as well as Anatomy of Time by Jakrawal Nilthamrong (Thailand/France/Netherlands), Bone Trumpet by Fidel Devkota (Nepal/France) and The Egg by Shawkat Amin Korki (Iraq/Germany/Japan).

The market will also host the second edition of Platform BUSAN, a networking platform where independent filmmakers and professionals in Asia will share their experience and seek out opportunities for collaboration, with the participation of European Film Promotion (EFP) and European Audiovisual Entrepreneurs (EAVE) in various events (read more here). A special focus will be put on Asian-European cooperation, with panels on the basics of international sales in Europe for Asian independent filmmakers, and on the distribution landscape in both Asia and Europe, as well as a closed networking table for European and Asian filmmakers. Professionals will also have the chance to attend conferences on block-chain technology, and new VR technologies and narratives, in addition to the presentation of the winners of the Korea Story Competition.