[Reporter Yang So-young on the Daily Economy Star Today]

The 22nd Jeonju International Film Festival (Chairman Lee Joon-dong) wrapped up its 10-day schedule with a brief closing ceremony at Jeonju Digital Independent Film Theater on the 8th.

Lee Joon-dong, chairman of the executive committee, took the stage and said, “This year’s festival slogan, ‘The movie continues.’ However, the justification does not prove itself. It must be proved by will.
This year’s Jeonju International Film Festival decided to hold the summit despite the still problematic Covid-19 situation and held the opening ceremony and other events safely.

“We were able to meet with the audience more actively through online and offline,” Lee said. “If the quarantine measures are thorough, we have gained confidence that we will be able to do things normally that have not been able to shrink so far.”

This year’s Jeonju International Film Festival has a total of 26,223 people, including offline (theater) and online (wave) audiences. First of all, 14,466 offline audiences, 14,410 of whom were general audiences, and 3,056 were issued tickets with badges such as guests and press. In addition, 332 out of 356 theatrical screenings were sold out, recording a 93.3% sell-out rate.

12,757 people watched the screening of the 22nd Jeonju International Film Festival through the OTT platform Wavve. This is a result of an 81% increase year-on-year, with 5,709 more cases than last year (7048 cases) when it first attempted to screen online.

This year, due to the Covid-19 situation, it was difficult to grasp the audience’s tendency because most of the offline screenings were sold out as the theater screenings were drastically reduced and only 33% of the seats were operated. Instead, if you look at the characteristics of online screenings, you can see that attention was focused on the winning films.

This is because Lee Jae-eun and Lim Ji-sun’s “Kim Min-young in the report card” and Choi Min-young’s “Motorcycle and Hamburger,” which won the Korean Short Competition, ranked first and second in the overall viewing rankings.

Meanwhile, Cheryl Dunye’s “Watermelon Woman,” introduced in the “Special Focus: Independent Woman,” ranked third, drawing keen attention from the audience, while “Everywhere, Full of Light” (theo Anthony) and “Cryptoju” (dash show) in the international competition category were also in the top 10.

The 100 FILMS 100 POSTERS, an exhibition program at the Jeonju International Film Festival, also ended successfully with its seventh anniversary this year. In particular, last year, the offline exhibition was canceled due to the COVID-19 situation and only online exhibitions were held, which attracted visitors to this year’s offline exhibition, which resumed at the Palbok Art Factory. The 7th 100 FILMS 100 POSTERS was conducted under a pre-booking system for social distancing, which allowed the first number of visitors to be counted in previous years to be counted this year, and the total number of visitors was 3,039.

Online and offline events were also actively held considering the Covid-19 situation. A total of 152 online and offline program events were held this year, with a total of 417 domestic and foreign guests participating. A total of 75 conversations were held with offline audiences, where domestic guests visited the theater and met with the audience, and 281 domestic guests participated.

The conversation with the online audience, who connected overseas guests to a video conference system and met the audience at the theater, took place 43 times, with 56 overseas guests meeting with the Jeonju International Film Festival audience in their respective spaces. The class programs focused on the Jeonju International Film Festival, including master class and brilliant class, were held 16 times in theaters, with 23 guests participating.

The program event, which was broadcast live on YouTube and Naver V LIVE, was held 18 times with 57 guests participating, and recorded 15,000 views, contributing to the meeting between the audience and the film industry at a time when distancing has become common due to Covid-19.

In addition, the 22nd Jeonju International Film Festival attracted attention by attempting to narrow the distance between Jeonju citizens and film festivals, including “J Special: Programmer of the Year,” which was launched this year to add more diverse attention to the program. The “Online Screening Room,” prepared to promote Korean films’ overseas expansion, was also successful with 35 executives and programmers from 25 major international film festivals in 17 countries, including the Berlin International Film Festival, Toronto International Film Festival, Rocarno Film Festival, San Sebastian International Film Festival and Mardelplata International Film Festival.

What will be the film of I am Independent, seven independent film directors beyond the mainstream, and 62 filmmakers imagining the future of Pandemic-era films as part of this year’s festival campaign? – Including ’62 Thoughts on Imagining the Future of Film,’ three publications were presented to present more in-depth film discourse.

The 13th Jeonju Project, an industrial program at the Jeonju International Film Festival, also took a leap forward with a stance of focusing on video planning and projects with various spectra. The 13th Jeonju Project, which was held from May 2 to 4, hosted Jeonju Lab Showcase and K-DOC CLASS, and a total of 237 business meetings were attended by 55 companies and institutions to help them find investment and production partners and lead to distribution.

Among them are foreign organizations such as the Sundance Film Festival and the South by Southwest (SXSW). Jeonju Conference, which was launched ambitiously by claiming to be a production base for domestic and foreign film industry discourse, also received keen attention. A total of 14 sessions were held at this year’s Jeonju conference, and nine sessions were conducted simultaneously online transmissions, including YouTube, recording about 6,000 views.

skyb1842@mk.co.kr

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