The Busan Film Festival will unspool from today until 13 October, once again boasting a programme that shines the spotlight on the most interesting voices in Asian cinema, but also adapting to an ever-growing intercontinental scope.

Opening with the world premiere of Beautiful Days [+lire aussi :
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fiche film], a Korean-French co-production directed by Jero Yun (Mrs. B., A North-Korean Woman [+lire aussi :
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fiche film], Letters [+lire aussi :
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fiche film]), the festival will screen a selection of world and international premieres of European titles to South Korean audiences. 

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The Flash Forward section will see the world premiere of Luzie Loose’s Swimming [+lire aussi :
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interview : Luzie Loose
fiche film], Paolo Zucca’s The Man Who Bought the Moon [+lire aussi :
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fiche film] and Mohcine Besri’s Urgent [+lire aussi :
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fiche film], as well as the international premieres of Andrew Hulme’s The Devil Outside [+lire aussi :
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fiche film] (United Kingdom), Nikolaus Leytner’s The Tobacconist (Austria/Germany), Letizia Lamartire’s Venice-screened We’ll Be Young and Beautiful [+lire aussi :
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interview : Letizia Lamartire
fiche film] (Italy), Moonika Siimets’ The Little Comrade [+lire aussi :
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fiche film] (Estonia), Martin Turk’s Good Day’s Work [+lire aussi :
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interview : Elena Trapé
fiche film] (Spain). 

European titles are also grabbing all the attention in the World Cinema section, with the international premiere of the Slovakian-Russian-Czech co-production Cellar [+lire aussi :
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fiche film], directed by Igor Voloshin, on top of a wide array of films coming from the biggest festivals of the year, such as Rotterdam (Jesper Ganslandt’s Jimmie [+lire aussi :
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interview : Małgorzata Szumowska
fiche film]), Cannes (Alice Rohrwacher’s Happy as Lazzaro [+lire aussi :
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interview : Alice Rohrwacher
fiche film], Pawel Pawlikowski’s Cold War [+lire aussi :
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Q&A : Pawel Pawlikowski
fiche film] and Ali Abbasi’s Border [+lire aussi :
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interview : Ali Abbasi
fiche film]), Karlovy Vary (Radu Jude’s “I Do Not Care If We Go Down in History as Barbarians” [+lire aussi :
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fiche film]), Venice (Jacques Audiard’s The Sisters Brothers [+lire aussi :
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interview : Jacques Audiard
fiche film], Laszlo Nemes’ Sunset [+lire aussi :
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interview : László Nemes
fiche film] and Olivier Assayas’ Non-Fiction [+lire aussi :
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interview : Olivier Assayas
fiche film]) and Toronto (Claire Denis’ High Life [+lire aussi :
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interview : Claire Denis
fiche film] and Paolo Sorrentino’s Loro [+lire aussi :
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fiche film]), among many others. 

The rude health of the European-Asian co-production landscape is also plain to see in the A Window on Asian Cinema section, which will boast the international premiere of Koji Fukada’s new film, the Japanese-Indonesian-French co-production The Man From the Sea [+lire aussi :
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fiche film], and will include screenings of Naomi Kawase’s Vision [+lire aussi :
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fiche film], Phuttiphong Aroonpheng’s Manta Ray [+lire aussi :
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fiche film], Soudade Kaadan’s The Day I Lost My Shadow [+lire aussi :
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interview : Soudade Kaadan
fiche film], Rahi Anil Barve and Anand Gand’s Tumbbad [+lire aussi :
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interview : Rahi Anil Barve
fiche film], Wi Ding Ho’s Cities of Last Things [+lire aussi :
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fiche film] and the director’s cut of Jia Zhangke’s Ash Is Purest White [+lire aussi :
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fiche film].

Taking place during the festival, the Asian Film Market (6-9 October), will welcome 29 projects to the Asian Project Market, Asia’s biggest investment and co-production market. European (co-)produced projects are also in the mix, such as the market’s first Czech production, Tomáš Polenský’s The Pack [+lire aussi :
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fiche film], co-produced by Latvia, as well as Anatomy of Time by Jakrawal Nilthamrong (Thailand/France/Netherlands), Bone Trumpet by Fidel Devkota (Nepal/France) and The Egg by Shawkat Amin Korki (Iraq/Germany/Japan).

The market will also host the second edition of Platform BUSAN, a networking platform where independent filmmakers and professionals in Asia will share their experience and seek out opportunities for collaboration, with the participation of European Film Promotion (EFP) and European Audiovisual Entrepreneurs (EAVE) in various events (read more here). A special focus will be put on Asian-European cooperation, with panels on the basics of international sales in Europe for Asian independent filmmakers, and on the distribution landscape in both Asia and Europe, as well as a closed networking table for European and Asian filmmakers. Professionals will also have the chance to attend conferences on block-chain technology, and new VR technologies and narratives, in addition to the presentation of the winners of the Korea Story Competition.