El festival de cine de Busan presenta una lista de 315 películas para su 31a edición

The Busan International Film Festival has announced its 315-film lineup for the 31st edition, scheduled to run from October 6 to 15. This marks the festival’s return to competitive programming following a two-year hiatus, during which it focused on rebuilding trust and expanding its global reach. Now recognized as an Oscar-qualifying event by the International Federation of Film Producers Associations, the festival features 246 officially selected films from 59 countries, with 95 of these being world premieres. This represents the largest lineup since 2019. The inclusion of Busan in the list of A-list festivals elevates its status within the international cinematic landscape, allowing winners of the Busan Award for best film to qualify for consideration in the Academy Awards’ Best International Feature category. The festival joins Cannes, Berlin, Venice, Sundance and Toronto as one of the six major events eligible for Oscar submissions. Despite this recognition, festival chair Park Kwang-su emphasized that Busan still faces challenges in becoming a truly original and distinctive festival tailored to its regional identity. This year’s competition for the best film category includes 14 Asian entries, 12 of which are world premieres. Among them are four films directed by first-time filmmakers and four directed by women. Notable entries include “Midday Meal,” directed by Iranian filmmaker Majid Majidi, known for his acclaimed work “Children of Heaven.” Another highlight is “The First Taste of Loneliness,” co-directed by Chinese filmmaker Gu You and starring actress Zhou Xun. Additional entries come from Uzbekistan, Indonesia and Taiwan, showcasing the diverse range of voices represented in the lineup. Animation is a key theme this year, with 14 animated films featured across different sections of the festival. This reflects the growing popularity of the medium globally. A special 13-film program highlights rarely screened Japanese animations, including Tezuka Osamu’s “Phoenix 2772 (Space Firebird)” and Rintaro’s “Metropolis.” These films, which have been difficult to license due to high costs and strict conditions, offer audiences a rare opportunity to see them in a theatrical setting. The Icons section, dedicated to new work by established filmmakers, has expanded to include 35 titles, a record for the festival. Fifteen of these were previously showcased at this year’s Cannes Film Festival, including Cristian Mungiu’s Palme d'Or-winning “Fjord” and Andrey Zvyagintsev’s Grand Prix-winning “Minotaur.” Notable attendees include Maggie Gyllenhaal, who is visiting Korea for the first time with her short film “Flesh Impact,” a tribute to the centennial of Marilyn Monroe’s birth. Michelle Yeoh, returning after 15 years, will receive the Asian Filmmaker of the Year award, while Hong Kong director Ann Hui will be honored with the Camellia Award, recognizing contributions by women in cinema. Isabelle Huppert, Fan Bingbing and Majid Majidi, who is making his debut in Korea, are also confirmed to attend. The festival is currently finalizing invitations for three additional guests, including a prominent Hollywood director. To improve accessibility, the festival will open on a Tuesday for the first time and increase daily screenings from four sessions to five from Thursday through Sunday. The opening film will be Kim Jong-kwan’s ensemble drama “The Table: Day and Night,” which was praised for its emotional depth and storytelling. Festival director Jung Han-seok noted that while the film industry has not yet fully recovered from previous challenges, the overall mood is more optimistic. He expressed hope that this year’s festival would contribute to maintaining that positive momentum.