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[HanCinema's Digest] Cinema Snippets


The Los Angeles Times digs into Bong's 'meaty' masterpiece, these are the highest rated Korean films on America's top film review sites, Korean LGBT films are earning critical acclaim, and Kaitlyn Tiffany talks about Netflix's conflict over "Okja" and why it matters.

"Minority Revolt"

Song Soon-jin highlights the recent success of three Korean queer films ("Our Love Story", "Weekends", and "Jane") that "prove that the Korean independent queer film spectrum is expanding". The rise of queer films, Song notes, can be seen as part of a larger wave of recognition of LGBT human rights across Asia: "The Korean film scene also seems to be experiencing a shift with recent, well received releases of LGBT related stories".


"Bong Joon-ho on Netflix's "Okja", the meatiest film of his career"

"Okja", writes film critic Justin Chan, "represents Bong's latest and nerviest venture into the realm of big-budget, predominantly English-language filmmaking". In this article on the Los Angeles Times, Justin reviews the film and provides an excellent survey of the current conflict in context, which lies somewhere between Bong and Netflix's borderless ambitions and the distribution (and filmmaking) status quo. "The director [Bong] is quick to praise Netflix for giving him the freedom to make the film without compromise".


"Fresh or Starry"

KoBiz's latest infographic reveals the highest rated Korean films on Rotten Tomatoes, IMDb, and Metacritic: America's top rating sites. According to KoBiz writer Cho Meanjune, "It appears there may be a difference in tastes between critics and audiences of difference [si countries". Can you guess what K-features came out on top?


""Okja" is the first great Netflix movie - here's why that matters"

Bong Joon-ho is "an apt symbol for the future of film", write Kaitlyn Tiffany, and his latest feature is just the masterpiece Netflix needed this summer. However, heated discussions ignited over the film's distribution in some countries; in Korea, the majority of cinema chains refused to screen the film ("... in protest of Netflix's plan to release the film in theatres and on its streaming service the same day").


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