KOREAN CULTURAL CENTRE UK ANNOUNCES 

LONDON KOREAN FILM FESTIVAL 2025 

20TH ANNIVERSARY PROGRAMME

Opening Gala: Kim Jong-kwan’s FROSTED WINDOW

Closing Gala: Woo Min-ho’s HARBIN

(London, 6th October). The London Korean Film Festival (LKFF), organised by the Korean Cultural Centre UK (KCCUK) and supported by the Korean Film Council, will return from 5 November to 18 November taking place at BFI Southbank, Ciné Lumière, and ICA London.

Now celebrating its 20th anniversary, LKFF is one of the longest running film festivals dedicated to Korean cinema outside the country itself. Featuring the world premiere of Kim Jong-kwan’s Frosted Window as the opening film and Woo Min-ho’s Harbin as the closing film, this milestone edition will honour the vibrant present and rich history of Korean filmmaking with its signature strands — Cinema Now, Women’s Voices, and a Special Screening.

This year will also see the launch of the LKFF Audience Award, giving festival-goers the chance to vote for their favourite film and play a part in shaping this special anniversary celebration.

The festival will open with the world premiere of Frosted Window (2025), an anthology film that gives an honest portrayal of the human condition through three episodes, each set in a different season, in the Seochon neighbourhood of Seoul’s Jongno District. Frosted Window is directed by the master of inventive short narratives Kim Jong-kwan (Come, Closer (2010), The Table (2016) and Shades of the Heart (2021)) and serves as a  Rohmer-esque love letter to Seochon. Director Kim Jong-kwan and actor Yeon Woo-jin will be joining the festival for a special post-screening Q&A.

The festival will close with Inside Men (2015)director Woo Min-ho’s latest feature Harbin (2024), a breathtaking historical drama about Korean Independence fighter, Ahn Jung-geun, lensed by Parasite cinematographer Hong Kyeong-pyo and scored by longtime Park Chan-wook collaborator, Cho Young-wuk. The film premiered at the Toronto International Film Festival (TIFF) last year and stars Hyun Bin, Park Jeong-min, Jo Woo-jin and Jeon Yeo-been.

Setting the celebratory tone of this year’s edition will be a Special Screening of Hi-Five (2025), a light-hearted super-hero comedy by Kang Hyoung-chul, the creator of numerous blockbusters including Sunny (2011) and Scandal Makers (2008). 

Cinema Now brings a selection of new releases across a range of genres, showcasing the vitality and innovation of Korea’s contemporary filmmaking. Director Shin Jea-min’s Commission (2024) is a bold and sophisticated psychodrama that reimagines the creative process of the booming webtoon industry as the framework for a gripping serial killer thriller, where mysteries unfold around an aspiring webtoon artist. 

Jang Man-min’s debut feature Silver Apricot (2024) centres on a vampire webtoon creator who returns to her seaside hometown of Donghae City, where she must confront the fraught dynamics of her estranged family. 

Namkoong Sun’s Time to Be Strong (2024) turns to the flipside of the glamorous K-pop kingdom — a story about three veteran idols embarking on a belated ‘school trip’ to Jeju Island in the hope of recovering and rediscovering their lost youth. 

The Informant (2024), directed by Kim Seok, is an action comedy that follows the chaotic duo of an inept cop and an ace informant as they navigate a swamp of deceit and distrust, featuring an astounding lead performance by Squid Game (2021-2025)’s actor Heo Sung-tae. 

The Land of Morning Calm (2024) begins with the disappearance of a young local fisherman, sending ripples through a bleak, small seaside town. Park Ri-woong’s melancholic portrait of an ageing community garnered three awards at the 29th Busan International Film Festival. 

Another film festival acclaimed gem is Park Joon-ho’s 3670 (2025), winner of four awards at the 26th Jeonju International Film Festival that tracks a defector exploring his identity and sexuality in Seoul. Starring K-pop star Kwon Yu-ri (Girls’ Generation), Somebody (2025) is a psychological thriller that dives into the dark side of a convoluted mother-daughter relationship. 

Women’s Voices, curated by programmer Son Si-nae from the Seoul International Women’s Film Festival, champions up-and-coming independent filmmakers. 

Red Nails (2025) by Hwang Seul-gi presents a young woman weighed down by debt and the arrival of her estranged mother, who suffers from dementia. Caught between survival and responsibility, the two struggle to redefine what family means in the face of hardship. 

In Bang Mi-ri’s SAVE (2025), just a day before a high schooler is set to leave her orphanage, a stranger who claims to have saved her life in the past suddenly reappears asking for help; what begins with suspicion unfolds into an unexpected bond, as the film explores resilience and the unconventional ways women carve out survival in a cruel world. 

The Meryl Streep Project (2024) documents director Park Hyo-sun’s journey to meet her hero, Meryl Streep, who inspires her to participate in feminist activism in Korea. The film captures important discussions around the political awakening amongst young women in the country.

In collaboration with the Korean Film Archive, this year’s edition also presents a special programme to commemorate the 80th anniversary of Korea’s Liberation. 

Dramas of Resistance: The 80th Anniversary of Liberation, curated by programmer Park Se-ho, highlights films that honour the spirit of strength and resilience in the movement. 

The programme features two films from the ‘Manchurian Western’ genre, which blends elements of the ‘Spaghetti Western’ to explore stories set in Manchuria during the colonial era. Auteur Lee Man-hee’s Break Up the Chain (1971), a seminal work of the genre, is an epic about three men who chase after a Buddha statue that not only holds monetary value but also bears a list of operatives working for the resistance movement; and Kim Jee-woon’s The Good, the Bad, the Weird (2008), which revisits the trio-and-treasure-hunt trope with renowned actors Song Kang-ho, Lee Byung-hun, and Jung Woo-sung.

The programme also includes two biopics that foreground prominent figures in Korean liberation: Youn JK’s Hero (2022), a screen adaptation of the eponymous musical that chronicles the life of revolutionary Ahn Jung-geun, and Lee Joon-ik’s Dongju: The Portrait of a Poet (2016), which depicts the story of celebrated poet Yoon Dong-ju. 

Also based on a real-life story, Kim Hyun-seok’s YMCA Baseball Team (2002) offers a comedic interpretation of the legendary Hwangseong YMCA baseball team—the first baseball team in Korea.

Seunghye Sun, Director, Korean Cultural Centre UK mentions “As we celebrate the London Korean Film Festival, I am reminded of a phrase that guides my reflections on Korean aesthetics: all that is called is love. At its heart, cinema embodies this truth by offering us not only stories but a deeper understanding of the wide spectrum of the human condition. From tender lyricism to profound historical narratives, Korean film reveals how love, in its many forms, binds us to one another and to the world we share.”

The 20th London Korean Film Festival will take place 5 November – 18 November 2025.

About the Korean Cultural Centre UK (KCCUK)

The Korean Cultural Centre UK, opened under the aegis of the Embassy of the Republic of Korea in the United Kingdom, aims to enhance friendship, amity, and understanding between Korea and the UK through cultural and educational activities. From the KCCUK’s central London location near Trafalgar Square, our dedicated team works to expand cultural projects, strengthen cooperation with major arts organisations and partners, and encourage cultural exchange. 

About the London Korean Film Festival

The London Korean Film Festival has grown from humble beginnings to become one of the longest running and most respected festivals dedicated to Korean cinema in the world. We’ve built a name upon presenting line-ups consisting of everything from the country’s most successful blockbusters to thought-provoking independents from its finest auteurs. Across a variety of finely curated strands we aim to cater for general audiences to committed cinephiles, and everyone in between.

Organised by the Korean Cultural Centre UK

Supported by the Korean Film Council

Venue Partners: BFI, Institute of Francais (Ciné Lumière), ICA

Programme Partner: Korean Film Archive

The 20th edition of the London Korean Film Festival (LKFF), organised by the Korean Cultural Centre UK (KCCUK) and supported by the Korean Film Council, is back from 5–18 November.

We are looking for enthusiastic volunteers to join our team and help us deliver another exciting festival, both during the build-up and across the programme.

Our volunteer program is a good opportunity to gain valuable experience in the film festival sector and meet like-minded people who share a passion for Korean cinema and culture.

Volunteer tasks may include:

• Welcoming our audiences, guests, and delegates
• Assisting with runner or production crew tasks before the Opening and Closing Gala
• Supporting festival staff with various event and programme-related duties

Important details:

• Eligibility: over 18s
• Festival Location: Central London
• Volunteers are expected to commit to a minimum of 3 shifts during the festival (5–18 Nov).
• Volunteering schedule and duties will vary by event and will be confirmed following the recruitment process.
• There will be £10.50 travel cover (Zone 1–3) for each shift. If the shift is longer than 4 hours in a day, there will also be £10 subsistence.

How to apply: Please submit your application via online form, any other way of applying would not be considered.

Application deadline: Thursday 25 September 2025, 23:59.

Once applications have been processed, selected candidates will be notified by Friday, 10 October 2025.

If you have any questions, please get in touch via kcclkff@gmail.com

주영한국문화원은 광복 80주년 기념 특별상영회의 원활한 진행을 위해 아래와 같이 기간제 인력을 모집합니다.

1. 주요업무

○ 상영작 선재물 확보 및 관리

○ 상영회 기간 중 상영회 및 행사 운영 전반 관리

○ 초청게스트 전체 일정 구성 및 관리

○ 초청게스트 입출국 및 부대행사 시 수행 업무

○ 각종 부대 행사 준비 및 진행 협조

○ 상영회 진행 지원

○ 기타 상영회와 관련하여 필요한 제반 업무 지원

2. 응모자격

○ 영국 체류 자격에 문제가 없는 자 (관광비자 등 일을 할 수 없는 비자 제외, 별도 비자 발급 지원 불가)

○ 영어 및 한국어에 모두 능통한 자

○ 영화제, 영화 배급사 및 영화/문화 행사 등 관련 분야 경력자 우대

○ 영화 이론 및 실기 전공자 우대

○ MS 오피스 (워드, 엑셀), 한글 사용 필수, 어도비 디자인 (포토샵, 인디자인) 및 프로 젝트 관리 프로그램 사용 가능자 우대

3. 제출서류

○ 자기소개서, 이력서 (자유 양식) 국문 1부 및 영문 1부 (총 2부)

○ 자격요건에 부합하는 자격증, 경력증명서 사본 등 제출 가능

4. 전형절차

○ 서류전형 ￫ 면접전형 ￫ 최종합격

5. 근무기간 및 시간

○ 근무 기간: 2025년 8월 4일~12월 5일

○ 근무 시간: 주 5일

※ 행사 일정에 따라 필요시 야간 및 주말 근무

※ 첫 2주는 수습시간으로, 수습기간 후 평가를 통해 정식 채용이 확정됨.

6. 보수

○ 시급 £13.85부터 (문화원 규정 및 지원자 경력에 따라 책정)

7. 접수처

○ 이메일 지원 (info@kccuk.org.uk)

○ 접수 시 이메일 제목 란에 ‘광복 80주년 기념 특별상영회 전문인력 지원’을 명시하기 바람

8. 서류 접수기한

○ 2025년 7월 18일(금)

9. 기타 참고사항

○ 서류 심사 통과자에 한해 개별 면접을 2025년 7월 23일 혹은 7월 24일에 실시

○ 서류 통과 여부, 구체 면접 일정, 최종합격여부는 해당자에게만 개별 통보

○ 제출 서류는 반환하지 않으며, 기재내용이 사실과 다른 경우 채용을 취소할 수 있음

주영한국문화원

Korean Cultural Centre UK

Please read the following job description and candidate specification carefully, telling us in your cover letter what brought you to apply for this role, and with what kind of professional skills you can contribute to the film event.

Please submit your application (cover letter and CV) via email. Your cover letter should outline why you are interested in the role, as well as the skills and experience. The closing date for applications is 18 July 2025

Once applications have been processed, selected candidates will be invited to attend an interview on either 23 or 24 July 2025

For further information on the role please contact info@kccuk.org.uk.

We look forward to receiving your application.

(1) Terms and Conditions

• Employer: Korean Cultural Centre UK
• Salary: 13.85GBP per hour (based on KCCUK regulations and candidate experience)
• Term: 8 September – 29 November 2025. (Period of work is flexible, based on festivals needs) The position is offered on a temporary basis, it is a part-time post, covering the period in preparation, build up, operation and debrief of the Screening Event
• Hours: 16 hours (2 days) per week in 8 September-30 September, 40 hours(5days) per week in 6 October -28 November. This will involve some weekend and evening work, and hours can be flexible to accommodate this
• Notice Period: There is a 2-week probationary period, and if successful the candidate will be confirmed. Upon confirmation, either party will provide 2-weeks’ notice should they wish to terminate the agreement prior to the end of the contract
• Right to work: The successful applicant will be required to provide documentation that proves their right to work in the UK
• References: Offers of employment are subject to the receipt of two references
• Application: To apply for this position, send your CV and cover letter to info@kccuk.org.uk with ‘Special Screening 2025 Marketing Coordinator’ in the subject line by 18 July
• Interview period: 23 or 24 July 2024
• Start date: 8 September 2025

(2) Job Description

The Marketing Co-ordinator is a core member of the film team. The successful applicant will be creative and insightful, showing the ability to present both in-depth promotional content and fresh ideas that link Korean cinema with film culture in the UK.

(3) Responsibilities and Accountabilities

• To support the Film Curator to develop an overall strategy with regards to print distribution and offline promotion, and to ensure special screenings 2025 attracts large audiences.
• Managing and creating content for online platforms – e.g. the social media accounts, website
• To oversee the distribution of print marketing including ordering, payment and effective distribution of printed materials
• To design and deliver online campaign strategies for the film events including strand-specific e-newsletters, social media, festival & venue websites.
• To manage volunteers for the distribution of materials and other marketing tasks.
• To communicate regularly with a PR agency to build relationships with press lists and journalists, ensuring they are informed about upcoming films and events at special screenings.
• To identify and consider potential opportunities for cross-promotion and advertising with relevant external partners.
• To collaborate on all areas of marketing for the successful promotion of the film events, offering constructive, creative ideas to help generate ticket sales.
• General marketing and communications support, and any other duties relevant to the post as required by the film team.

(4) Personal Specification

• At least three years’ experience of working in a film festival or similar cultural event in a marketing and/or press officer role
• Understanding of various screening formats, experience handling audio-visual content
• Experience working to budget on large scale cultural projects and working with multiple external agencies and partners
• Excellent organisational skills with the ability to prioritise and to manage and meet changing deadlines
• Excellent attention to detail and confidentiality
• Good IT skills including MS Office, skilled in Excel
• Demonstrable commitment to the principles of diversity and inclusion and its practical application and integration in the work environment
• Ability to work flexible hours (there is a requirement to work outside contracted hours, including some evenings and weekends)
• Well-organised and effective at prioritising work and managing deadlines under pressure.
• Excellent communication skills, both written and oral.

What endures after conflict? What resonates in memory, image, and voice after tragedy? Whose voices are heard, and how might we move forward?

These questions shape 여운 | Lingering Fragments, a film programme that brings together a broad selection of non-fiction and experimental works, highlighting the richness of Korean cinema and the multiplicity of voices working within it.

In Korean, 여운 (yeo-un) translates to lingering feeling, resonance, or echo. It is the subtle yet powerful sensation that remains after something has ended—an aftertaste of motion, memory, or thought that refuses to fade. The echo stays behind, often more poignant than the moment itself. This idea of 여운 captures the programme’s exploration of how we process trauma, both collectively and personally. These fragments—emotional, visual, and historical—create a space that encourages us to come together through shared experiences. In this way, cinema becomes a site of solidarity, healing, and connection, where the lingering impression of what we see continues to shape how we remember, feel, and relate to one another. The title Lingering Fragments speaks to the emotional resonance of images that remain with us—those indelible moments that persist long after the credits roll.

While overarching themes of memory, poetry, and resistance run through the programme, each night presents a distinct strand of Korean cinema—one that remains resolutely multivocal, not only through the filmmakers themselves but through the many voices embedded within the films. From the daring, radical feminist shorts of Han Okhi and the Kaidu Club—Korea’s first feminist film collective, founded in the 1970s—to a haunting meditation on the Korean War, a screening dedicated to women’s oral histories, and the poetic, textural works of contemporary Korean experimental and artists’ cinema, these films carry the urgency of their times. They address subjects such as the division of the Korean peninsula and its enduring psychological weight, the repressive periods of authoritarian rule in the 1970s and 1980s, and the restrictive gender and social norms that shaped Korea’s postwar society. Whether through militant critique, quiet testimony, or poetic abstraction, these works give form to voices long buried or suppressed—each fragment a testament to the resilience of memory and to cinema’s capacity to resist forgetting.

This year’s programme includes several UK premieres and spans various forms: shorts, features, documentaries, artist films, and video art. We aim to showcase the depth and diversity of Korean cinema and to amplify voices that are often marginalised or overlooked. These films all resist conventional narratives and traditional cinematic forms, instead embracing poetic and experimental modes of expression.

Alongside the screenings, audience members are invited to engage with guest introductions, post-film discussions, and poetry readings. Over four weeks, we invite you into a space where images linger, fragments speak, and cinema becomes a site of reflection and quiet resistance.

This film programme is part of an ongoing collaboration between the Korean Cultural Centre UK and the MA in Film Programming and Curating at Birkbeck, now in its ninth year, providing students with a platform for curatorial practice and discussion focused on historical and contemporary non-fiction cinema and artists’ moving image from Korea.

Programmed and Brochure texts by Birkbeck, University of London, Film Programming and Curating MA Students:

Aoife Kanowski

Jack Cunliffe

Kelsey Keating

Lucy Peters

In conversation with Ricardo Matos Cabo, Birkbeck, University of London.

 

Programme

18 June, Han Okhi and Kaidu Club: A Cinema of Outsiders
The Middle Dog Day (1974),The Hole (1974), Colour of Korea (1976), Untitled 77-A (1977), The Silence of Love (1991) – Dir. Han Okhi
https://www.koreanfilm.co.uk/events/han-okhi-and-kaidu-club-a-cinema-of-outsiders/

25 June, Korean War Commemorative Screening
Forbidden Fatherland (2019) – Dir. Kim Lyang | 72 mins
https://www.koreanfilm.co.uk/events/korean-war-commemorative-screening-forbidden-fatherland/

2 July, Women’s Oral Histories
Lesbian Censorship in School 1 (2005) – Dir. Lee Young | 27 mins
The Witches’ Carnival (2024) – Dir. Park Ji-sun | 81 mins
https://www.koreanfilm.co.uk/events/womens-oral-histories/

9 July, Writing Poems at the End of the World + Intro and Q&A with dir Kim Wonwoo
Glistening Seagull (2024) – Dir. Yu Chae | 10 mins
E.T. Phone Home (2021) – Dir. Lee Sinae | 16 mins
Writing Poems at the End of the World (2024) – Dir. Kim Wonwoo | 30 mins
https://www.koreanfilm.co.uk/events/writing-poems-at-the-end-of-the-world-intro-and-qa/

KOREAN CULTURAL CENTRE UK ANNOUNCES LONDON KOREAN FILM FESTIVAL 2024 PROGRAMME

Opening Gala Film: Park Beom-su’s VICTORY

Closing Gala Film: E.oni’s LOVE IN THE BIG CITY

Special Screening: Choi Dong-hoon’s ALIENOID: RETURN TO THE FUTURE

The 19th edition of the London Korean Film Festival (LKFF), organised by the Korean Cultural Centre UK (KCCUK) and supported by the Korean Film Council, is proud to unveil its 2024 programme.

The London Korean Film Festival will take place at BFI Southbank, Ciné Lumière, and Institute of Contemporary Arts (ICA) from 1 November to 13 November. It will feature two strands; Cinema Now and Women’s Voices, as well as a programme from the BFI Echoes in Time: Korean Films of the Golden Age and New Cinema, a special screening of Choi Dong-hoon’s Alienoid: Return to the Future and will feature Park Beom-su’s Victory as the Opening Gala Film and E.oni’s Love in the Big City as the Closing Gala film.

Victory by Park Beom-su will open the festival on the 6 November at BFI Southbank with the director in attendance. In 1999, two rebellious teenagers start a cheerleading squad for their provincial high school, bringing confidence and solidarity to themselves, their misfit troupe and an entire community afflicted by narrow horizons and labour disputes. Park Beom-su’s joyously punkish and irreverently funny crowd-pleaser has infectious charm, winning wit and girl-power exuberance to spare.

The festival will close on 13 November with a screening of Love in the Big City by E.oni. Jae-hee (Kim Go-eun), a bold and free-spirited woman, accidentally uncovers Heung-soo (Steve Sanghyun Noh)’s secret, leading to an unlikely relationship. Misunderstood by many, the two navigate growing pains while searching for love and self in Seoul. Love in the Big City, based on Park Sang-young’s novel longlisted for the International Booker Prize in 2022, is brought to life by filmmaker E.oni.The film premiered in the Special Presentations at the Toronto Film Festival 2024.

There will be a special screening of Alienoid: Return to the Future, the second part of Choi Dong-hoon‘s 2022 film Alienoid, which was featured as the opening film of the LKFF 2022. Set during the Goryeo dynasty in the 1300’s in Korea, Ean (Kim Tae-ri) and Muruk (Ryu Jun-yeol) travel through time and space in an effort to obtain the divine sword, but on their quest, they are pursued by two mages, a blind swordsman, and a mysterious masked man, who all want the sword for themselves. This is all taking place while Earth is being bombarded by an alien invasion. Choi Dong-hoon’s film, with its grand scale and incredible CGI, is sure to captivate all film lovers.

Cinema Now explores the cutting edge of Korean cinema, showcasing a diverse and eclectic range of genres and moods, all at the forefront of national cinema, curated by programmer Anton Bitel. Following by Kim Se–hwi is a twisted thriller that radically shifts perspectives while exploring every variety of narcissist, creep, parasite and psycho — like Rear Window (1954) for our social media-driven world. Mother’s Kingdom by Lee Sang–hak brings to mind Bong Joon-ho’s Mother (2009), but from the son’s perspective. Both Following and Mother’s Kingdom are on a double bill at BFI Southbank on 8 November. Shot over four years, Kim Tae–yang’s feature debut Mimang tracks an always transforming Seoul, with each of its three chapters dramatising a different meaning of the Korean word ‘mimang’. Writer/director Yeon Je-gwang‘s The Guest is a tense, taut thriller and of horror viewership, in a cynical, metacinematic peek at unspeakable exploitation. The Noisy Mansion by Lee Lu-da follows Ahn Geo-ul (Gyeong Su-jin) right after temporarily renting a unit in the Baek-sae Apartment building. She discovers that a loud banging noise occurs from 4am every night, so she sets out to find the culprit, and in the process recruiting her neighbours to her cause. The strand closes with The Tenants by Yoon Eun–kyoung. Shindong’s (Kim Dea-gun) desperation forces him to sublet spaces in his tiny apartment. This invasion of privacy soon drives him to the brink of madness. Yoon Eun-kyoung’s dystopia, as it goes on, eventually accommodates a bleak outlook.

Women’s Voices has consistently been a platform for highlighting remarkable films by women in the Korean film industry, and this year it showcases 15 years of work by Korean female directors, programmed by curator Eunji Lee. Sisters on the Road (2008) by Boo Ji-young, where Myung-eun’s (Shin Min-a) attempt to reconnect with her estranged father drives a wedge between her and her sister (Kong Hyo-jin). Boo Ji-young’s debut film sensitively explores their evolving relationship. Digitally remastered, the film was re-released as part of the 2022 Seoul International Women’s Film Festival, celebrating restored works by female directors. A Girl at My Door (2014), directed by Jung July stars Bae Doo-na as a police officer who, after being transferred to a small seaside village, forms an unlikely bond with a local girl, played by Kim Sae-ron. Jung July’s debut feature, which premiered in the Un Certain Regard section at the 2014 Cannes Film Festival, is produced by Lee Chang-dong, renowned for his cinematic masterpiece Poetry. The Truth Beneath (2015) by Lee Kyoung-mi is about a politician’s wife (Son Ye-jin) desperately searching for her missing daughter amidst a national election campaign. Lee Kyoung-mi’s 2008 debut was produced by Park Chan-wook, and she returns eight years later with this groundbreaking film co-written by Park. Concerning My Daughter, directed by Lee Mi-rang, is an adaptation of Kim Hye-jin’s 2017 novel, which was published in English in 2022. This all-female ensemble feature highlights the intersecting struggles of women across generations as they stand up for their own and their loved ones’ rights, while tentatively redefining conventional notions of family. Sandstorm by Park Jae–min follows five wrestlers from the Kolping Women’s Ssireum Team over five years, capturing their victories, struggles, and personal growth.

FAQ by Kim Da-min, where a struggling eleven-year-old student (Park Na-eun) discovers a talking barrel of rice wine at summer camp, leading to an adventure. The screening will also feature a Q&A with the director Kim Da-min. It’s Okay! by Kim Hye-young features a high schooler (Lee Re), facing eviction, secretly moving into her dance school. The head choreographer (Jin Seo-yeon) eventually discovers her and finds a role for her in an upcoming production. It’s Okay! won the Crystal Bear for Best Film at the 2024 Berlin International Film Festival’s Generation Kplus competition. The screening will also feature a Q&A with the director Kim Hye-young. Also, the two directors of both films (It’s Okay! and FAQ), Kim Hye-young and Kim Da-min, will be in conversation with Professor Jinhee Choi of King’s College London discussing themes emerging from works by contemporary Korean female filmmakers, as well as a discussion on the current state of the Korean film industry for female talent on 11 November at the BFI Southbank. Four shorts complete the strand: Bug by Myoung Se–jin, Hansel: Two School Skirts by Lim Ji-sun, The Lee Families by Seo  Jeong-mi, and Teleporting by Nam A–rum, Chifumi Tanzawa, Nana Noka, and Kwon Oh–yeon. Director Nam A-rum will attend the Q&A session.

The BFI, in partnership with the Korean Cultural Centre UK (KCCUK), presents the BFI Southbank programme ECHOES IN TIME: KOREAN FILMS OF THE GOLDEN AGE AND NEW CINEMA, a major new season running from 28 October – 31 December. Titles screening in late October and November will include AIMLESS BULLET (Yu Hyun-mok, 1961), A WOMAN JUDGE (Hong Eun-won, 1961), THE MARINES WHO NEVER RETURNED (Lee Man-hee, 1963), NOWHERE TO HIDE (Lee Myung-se, 1999), THE CONTACT (Chang Yoon-hyun, 1997), JOINT SECURITY AREA (Park Chan-wook, 2000), and SAVE THE GREEN PLANET! (Jang Joon-hwan, 2003), with a screening on 30 October followed by Q&A with director Jang Joon-hwan, while programmers Young Jin Eric Choi and Goran Topalovic will also introduce several films in October. Titles screening in December will include THE COACHMAN (Kang Dae-jin, 1961), GORYEOJANG (Kim Ki-young, 1963), THE SEASHORE VILLAGE (Kim Soo-yong, 1965), THE DAY A PIG FELL INTO THE WELL (Hong Sangsoo, 1996), PEPPERMINT CANDY (Lee Chang-dong, 1999), BARKING DOGS NEVER BITE (Bong Joon-ho, 2000), OLDBOY (Park Chan-wook, 2003) and UNTOLD SCANDAL (E J-young, 2003). This landmark season, which features many titles rarely screened in the UK, was prepared in collaboration with the Korean Film Archive (KOFA), which is celebrating its 50th anniversary this year; featured in the programme are 12 digital restorations and 5 digital remasters supervised by KOFA, as well as unique 35mm prints from its archival collection. The season is also presented in partnership with the Korean Cultural Centre UK (KCCUK) and the Korean Film Council.

About London Korean Film Festival

The London Korean Film Festival has grown from humble beginnings to become one of the longest running and most respected festivals dedicated to Korean cinema in the world. We’ve built a name upon presenting line-ups consisting of everything from the country’s most successful blockbusters to thought-provoking independents from its finest auteurs. Across a variety of finely curated strands we aim to cater for general audiences to committed cinephiles, and everyone in between.

Organised by the Korean Cultural Centre UK

Supported by the Korean Film Council

Venue Partner : BFI, Institute of Francais (Ciné Lumière), Institute of Contemporary Arts (ICA)

Programme Partner : Korean Film Archive, Seoul International Women’s Film Festival

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