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| South Korean director Lee Chang-Dong attends the press conference for 'Burning' during the 71st annual Cannes Film Festival, in Cannes, France, 17 May 2018. The movie is presented in the Official Competition of the festival which runs from 08 to 19 May. / EPA-Yonhap |
By Park Jin-hai
Award-winning filmmaker Lee Chang-dong's much-anticipated film 'Burning' didn't win Cannes' most-coveted Palme d'Or Award. That honor went to the Japanese film 'Shoplifters.'
But the critics' favorite South Korean movie made the International Federation of Film Critics (Fipresci) prize for best film and the film's art director Shin Jeom-hee won the independent Vulcan Award of the Technical Artist at the festival.
Hope was high at home after Lee's 'Burning,' about two young men and a woman in their 20s getting involved in a mysterious incident, made the record-high score in all critics' polls following its screening at the international film festival.
This year the Cannes film festival has seen many Asian films vying for the top prize, where eight out of a total of 21 films in the competition category were made by Asian directors. In comparison, the festival had only three Asian directors' films out of 19 selected for the competition.
Critics cited Lee's breathtaking mystery thriller, a loose adaptation of Japanese author Haruki Murakami's short story 'Barn Burning,' as 'a visually stunning film and an emotionally complex comment on contemporary society' and mentioned that Lee's film 'burned the competition to ashes in virtually every category.
The film earned a 3.8 average, the highest score in the history of the Screen Cannes jury grid, surpassing the 3.7 for Maren Ade's Toni Erdmann set in 2016, strengthening the standing of 'Burning' as this year's Cannes Competition frontrunner.
'Burning' is a mystery exploring reality and unreality, what is present and what is not and what is visible and what is not,' Lee said picking up the Fipresci prize during the awards ceremony at the 71st festival. 'I'm thankful for the warm reception you gave my work.'
Auteur Lee is one of a few directors who make art-house films in Korea.
Born in 1954 in Daegu to lower middle-class parents, Lee was a high school literature teacher and a writer who debuted as a novelist in 1983, before he began his film career in 1993 as a screenwriter for the fantasy film 'To the Starry Island.'
Since he made his directorial debut with the unconventional 1997 gangster drama 'Green Fish,' he has been known as a filmmaker whose strength lies in storytelling on the theme of outcasts of Korean society and their traumas and alienation.
None of his films are feel-good happy-ending stories. The director, who lost his own five-year-old son to a car accident in 1985, once said 'It is less uncomfortable for me to tell about pains than pleasures.'
His debut film 'Green Fish' deals with the dark side of capitalism, while his second feature 'Peppermint Candy' picks up the tragic 1980 Gwangju Democratization Movement, where civilians protesting against the martial law were beaten and killed by the military under the authoritarian rule of Chun Doo-hwan.
Following his film 'Oasis' which tells of love and prejudices revolving around a disabled woman and a man, he was convicted of killing and 'Secret Sunshine' tells of the pain of a mother who lost her son from a kidnapper.
'Burning is the first film since his directorial debut to focus on younger characters. What he really captures well is the sense of anxiety and uncertainty about living in a society that offers so little opportunity to the next generation,' Darcy Paquet, an American film critic, who has been introducing Korean films to international movie fans and working on translations of numerous award-winning Korean films, told The Korea Times.
'That said, it's a complicated film that can be read and interpreted in countless different ways. Each viewer will have to try to get their own meaning out of it. And visually, it's really quite stunning ― never 'stylish' or exaggerated, but absolutely beautiful in an earthy, natural way.'
Jason Bechervaise, film critic, called 'Burning' a richly layered film full of symbolism and mystery, saying it expands on the themes in Murakami's 'Barn Burning' on which the film is based.
'Like Lee Chang-dong's previous films, he paints a complex portrait of Korean society; in this case, he focuses on the plight of young people. In depicting a social system that ultimately fails this generation, leading to alienation, disillusionment, and distrust,' he said.
'The film in some ways is part of a trend in Korean independent cinema in exploring the difficulties facing young people, with a greater sense of urgency. But arguably, the connotations stretch further as nothing is what it seems; Lee is constantly asking the viewer to go back before one can go forward in trying to decipher the film's enigmas.
'Causation for Lee is riddled with ambiguity and he refuses to offer any answers; instead, Lee merely seeks to convey the mystery society finds itself in and in doing so has made an extraordinary feature.'
Lee has been a mainstay at the Cannes film festival.
Out of all six features, five films were invited to screen at the Cannes and three of them made foray into the Cannes competition section. Prior to 'Burning' his fourth film 'Secret Sunshine' made the foray into the Cannes competition section and its leading actress Jeon Do-yeon won the trophy for the Best Actress in 2007. In 2009, Lee won the Best Screenplay for 'Poetry.'