Maggie Lee

Photo credit: Doria Dragusin

「新浪潮．新海岸：釜山國際電影節」策展人 《 Variety》亞洲電影首席影評人 東京及溫哥華國際電影節節目策劃 Curator of New Waves, New Shores: Busan International Film Festival Asia Chief Film Critic, Variety Curator for Tokyo and Vancouver International Film Festivals

我從16年前開始參加釜山國際電影節（BIFF），每當電影節舉行時，這個美麗的沿海城市瀰漫一片熱烈氣 氛，流露出對電影的熱愛，每次都令我陶醉其中。我在這裡認識了很多電影人和工作效率超乎常人的電影 節員工，他們後來都成了我多年的好朋友。

香港藝術中心邀請我為「新浪潮 ･ 新海岸：釜山國際電影節」擔任節目策劃，以香港及韓國兩地電影相互 影響交流為主題，並以BIFF作為焦點，這實在是個難得的機會；同時我感到非常榮幸和幸運，獲得BIFF節 目總監南東喆先生答允，擔任聯合策劃，為本節目挑選韓國電影。多年來，南先生經常向我推薦值得關注 的優秀韓國新作品，他為本節目亦提供很多專業的意見，十分寶貴。

BIFF自1996年創辦以來，已成為全球數一數二、極具影響力的電影節，並對南韓電影工業作出難以估計 的重大貢獻。本節目旨在展示BIFF在努力扶助新秀發展電影事業之餘，同時亦向國際影評人及節目策劃介 紹資深導演在影壇上的成就。BIFF設有「新潮流」、「今日韓國電影」等多個單元，放映過的作品數以百 計，我們從中挑選多部導演的首作，這些影片的特色是令導演一躍而成為亞洲甚至國際頂級電影人。我們 還為觀眾帶來多部表現出色的韓國獨立電影，這些作品全都曾於多個重要電影節中獲獎。此外，我們亦向 活力充沛的南韓商業電影致敬，選映多部業內中流砥柱的作品。

不少香港電影曾在BIFF備受注目，觀眾現在有機會重溫這些本地優秀作品，其中值得注意的是《烏雲壓 頂》，這是曾四度獲亞洲電影大獎最佳剪接獎的利查泰米提古首次執導的作品。本片以曼谷為背境，但卻 是一部與香港合拍的電影，證明亞洲各地在電影上互相合作的關係千變萬化。透過重拍影片，亦可以讓兩 地的創意彼此交流。今次我們有個難得的機會，同時放映杜琪峯備受好評的《毒戰》，以及由李海暎以精 彩手法重拍的《毒戰寒流》。我們亦同時放映李海暎的首部作品《少年壯士麥當娜》。

事實上，早於1970年代，香港與南韓電影已互相影響。鄭昌和是少數在香港片廠制度內出人頭地的韓國導 演之一，他的名作《天下第一拳》是香港動作片在美國票房的開路先鋒。至於南韓的觀眾，亦對香港電影 熱烈捧場。由《秋霞》開始，南韓觀眾不但對香港電影情有獨鍾，片中的插曲亦同時登上韓國的流行榜。 李尚埈博士及朴漢峻博士以電影史為脈絡，慷慨分享他們對這些經典電影的廣博知識，為本節目的場刊撰 寫深入淺出的文章，我在此要向兩位表示深切謝意。

此外，我還很榮幸有機會籌備以電影改編作主題的大師班，由亞洲電影業內兩位最出色的創作人丁瑞慶與 陳果一起主講，作充滿啟發的交流。丁瑞慶曾擔任朴贊郁五部電影的聯合編劇，包括《饑渴誘罪》及《下 女誘罪》。陳果是多產而全面的導演，一直堅持獨立創作。他的佳作《餃子》，起初是長片《三更2》中 一個獨立單元；這是一部由香港、韓國及日本合拍的作品，片中亦包括朴贊郁的《割愛》。

「新浪潮 ･ 新海岸：釜山國際電影節」旨在增進兩地電影文化在未來的聯繫，因此，承蒙BIFF多位主持 人、韓國電影振興委員會（KOFIC）及創意香港的大力支持，我們得以舉辦多個為業界而設的節目，讓香 港的電影人能透過BIFF附設的亞洲內容及電影市場與亞洲創投市場等活動，了解BIFF如何與亞洲的內容 創作人維繫互惠共存的關係，並積極參與其中。為此我要特別向以下各位致謝：創意香港的香港電影發展 基金；KOFIC的金泳辰先生及金正錫先生；韓國電影資料館；BIFF的李庸觀先生、許文暎先生、南東喆先 生、吳奭根先生及朴世利小姐。

雖然這個節目由於新冠疫情而延期舉行，我十分慶幸能有多一年時間，與林淑儀及鄺珮詩領導的香港藝術 中心團隊緊密合作。我衷心感謝項目經理唐文曦及她的團隊成員盛秋姸、黎沅慈、李嘉琦及陸凱瑤，她們 在電影策展及為業界而設的節目方面提供重要的意見。我同時要向各位學識淵博、文采飛揚的作者及譯者 致謝，感謝他們為這本場刊的內容作出貢獻。

I have been attending the Busan International Film Festival (BIFF) since 16 years ago. Every time, I was intoxicated by the vibe of cinephilia flowing through the beautiful coastal city, where I have forged lasting friendships with film professionals and the superhuman BIFF staff.

When the Hong Kong Arts Centre (HKAC) presented me with the exquisite opportunity to curate New Waves, New Shores: Busan International Film Festival, to celebrate the mutual influence of Hong Kong and Korean cinema, with BIFF as our focus, I was deeply honoured and exceptionally fortunate that Mr Nam Dong-chul, Program Director of BIFF, agreed to be co-curator of the Korean films. For years, Mr Nam has tipped me on all the best new Korean works to look out for, and his expertise was invaluable to this programme.

Since its inception in 1996, BIFF has become one of the most influential film festivals in the world, and contributes immeasurably to South Korea’s film industry. This programme aims to show how BIFF launched the careers of new talents while introducing the achievements of established directors to international critics and programmers.

From hundreds of works showcased at BIFF’s New Currents, Korean Cinema Today and other sections, we have decided to highlight debut features which catapulted their directors to the top ranks of filmmaking in Asia and beyond. We also picked dazzling examples of Korean independent cinema that garnered numerous awards at major festivals. And we pay tribute to the mainstays of South Korea’s vibrant commercial film industry.

Many Hong Kong films received high profile attention at BIFF. Now you can revisit these local favourites. Of special interest is Concrete Clouds, the directorial debut of Lee Chatametikool, a four-time winner of the Asian Film Awards for editing. Set in Bangkok but co-produced with Hong Kong, it testifies to the endless possibilities of pan-Asian partnerships. Another area of creative crossover is through remakes. We present the rare back-to-back screenings of Johnnie To’s acclaimed Drug War and its high concept remake Believer, by Lee Hae-young (whose debut Like a Virgin is also in our programme).

As a fact of matter, the mutual influence between Hong Kong and South Korea dates back to the 1970s. Chung Chang-wha was one of several Korean directors who succeeded in Hong Kong’s studio system. His masterpiece Five Fingers of Death led our action cinema to blaze a trail in America’s box office. Over in South Korea, moviegoers embraced Hong Kong cinema with passion. The romantic spark was started by Chelsia, My Love, whose theme songs topped Korean charts. I am forever indebted to Dr Sangjoon Lee and Dr Aaron Han Joon Magnan-Park for generously sharing their exhaustive knowledge on these classics and their context in film history. Their illuminating and hugely entertaining articles can be found in this catalogue.

Another event I am honoured to facilitate is the masterclass on screen adaptation. It is a stimulating exchange between two of the most dazzling creators in Asian film industry — Ms Chung Seo-kyung and Fruit Chan. The former co-wrote screenplays for five of Park Chan-wook’s works, including Thirst and The Handmaiden. The latter is a prolific and all-round master who stays true to his independent roots. Chan’s mind-bending Dumplings was first made as a segment of the omnibus Three… Extremes, a Hong KongKorean-Japanese co-production that also featured Park Chan-wook’s Cut.

New Waves, New Shores: Busan International Film Festival’s goal is to bolster ties between these two great filmmaking cultures for a new generation. That’s why BIFF’s leaders, KOFIC and Create Hong Kong lent us tremendous support to hold several industry programmes to help Hong Kong talents get acquainted with, and take advantage of how BIFF maintains a symbiotic relationship with Asian content creators through its many components, like the Asian Contents & Film Market and the Asian Project Market. For this, special thanks are due to the Hong Kong Film Development Fund of Create Hong Kong, from KOFIC: Mr Kim Young-jin and Mr Kim Jung-suk, the Korean Film Archive, from BIFF: Mr Lee Yongkwan, Mr Huh Moon-yung, Mr Nam Dong-chul, Mr Oh Seok-geun and Ms Park Se-ri.

Although the programme has been postponed due to COVID-19, I am thankful that I had an extra year to bask in the esprit de corps of the HKAC’s extraordinary team under the leadership of Connie Lam and Teresa Kwong. I sincerely thank Project Manager Jacqueline Tong and her team-members Tiffin Shing, Frances Lai, Kelly Li and Yoyo Luk for their important input in the film curation and industry programmes. I also thank all the knowledgeable and eloquent writers and translators who contributed to this catalogue.