“I had such good help on this project. I feel incredibly blessed.” – In Conversation with Christine Ko, Director of “The Woman in the White Car”

Although there has been some visible progress over the past few years, female filmmakers still remain largely unseen either in front of the camera or behind it. While pushing through a world that is dominated by men, female filmmakers have shown that there are still countless stories to tell, stories that the opposite gender might…

17th London Korean Film Festival: “Stellar: A Magical Ride” Review

There’s something inherently comforting about the road trip movie. Always following the same narrative formula, with little room to innovate due to its constraints, a film within this subgenre is always about a journey both literal and metaphorical – the lead character experiencing emotional growth, whilst ticking off all the expected beats you’d expect on…

17th London Korean Film Festival: “Kingmaker” Review

Released in January 2022 just weeks before the presidential election in South Korea, writer-director Byun Sung-hyun’s fourth directorial effort, Kingmaker, is as much a character drama as it is a political film.  It is 1961, Seo Chang-dae (Lee Sun-kyun), a local pharmacist who fled the North, meets Kim Woon-bum (Sol Kyung-gu), an eloquent small-time politician…

17th London Korean Film Festival: “Alienoid” Review

Some films require patience to watch and some require energy. Writer-director Choi Dong-hoon’s Alienoid belongs to the latter camp for its hyperactivity. An ambitious mashup of multiple genres – sci-fi, fantasy, comedy, action, thriller, you name it – Choi’s sixth feature is, in a sense, a culmination of his filmography and much more. Alienoid does…