There is a dominant trend that took hold in Korean cinema from the late 1980s to the late 1990s: a wave of filmmakers (sometimes referred to as the Korean New Wave) taking advantage of a relaxation in state censorship to create highly realistic films that probed controversial social issues. There was also a parallel trend taking place over the same period, centered around a young generation of producers who worked with local business conglomerates to modernize the film industry and push commercial filmmaking in new directions. These two trends would each transform Korean cinema in their own way.
And then there is director Lee Myung-se, who first established himself with his debut film Gagman in 1988. If there had been three or four other directors like him, we might have referred to this as a third major trend transforming Korean cinema. But nobody else in Korea made films like Lee Myung-se. In that sense he stands alone, introducing a style that had never before existed in Korea, far removed from the gritty realism of the Korean New Wave or the genre-inflected approach of the commercial industry. In some ways we can say that he was a predecessor of the more visually expressive Korean auteurs of the 21st century, but even given the influence he had on later filmmakers, his work still comes across as completely unique. He is, in a word, the ultimate cinephile, fully devoted to the art of cinema and committed to exploring new aesthetic possibilities in every film.
As the Far East Film Festival continues its recent focus on films of the late 20th century, we are delighted to welcome Lee Myung-se to Udine to present two of his masterworks: Their Last Love Affair from 1996, and Nowhere to Hide from 1999. Although quite different in terms of their subject matter – one focusing on a doomed extramarital affair, and the other on a group of police detectives chasing a murderer – the two films make an excellent pairing, and highlight a particularly fertile period in Lee Myung-se’s career. There is a surface playfulness to all of Lee’s films, that springs out of his exuberant creative vision and the diverse sources of his inspiration. Watching his films is always an aesthetic delight. But at the same, he is not afraid to descend into darker places and challenge viewers with difficult questions. Both Nowhere to Hide and Their Last Love Affair highlight this duality to his cinematic approach. Watching these two films today is also particularly fascinating because the analogue process of constructing distinctive visuals back then is so different from what is done today. We now live in an age when visual experimentation has become exceptionally easy, but perhaps a bit shallow. In contrast, the material approach of these works shot on film has a texture and look that one simply cannot find today. Being able to watch these films on the big screen in newly remastered versions is a truly rare and valuable opportunity. FEFF attendees are encouraged to join the screenings and hear from the master himself in the special masterclass which will accompany the program.
Darcy Paquet