Growing number of French films shown in theaters
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A scene from the 2012 movie, “Amour” / Korea Times file
By Yun Suh-young
An increasingly noticeable trend in Korean cinema is the growing number of French films being shown here ― a development that seems to be met with less surprise and more enthusiasm from Korean moviegoers.
The influx of French films this year has been driven by the success of director Michael Haneke’s “Amour” which was released in Korea in December last year.
The film, despite its older cast and slow pace, managed to run for over three months in Korean theaters ― a record for both independent films and films based on French culture. Its popularity followed that of French film “Untouchables” a few years ago, which sparked interest in French film among Koreans.
Since the release of “Amour,” at least two French movies have been screened every month.
“Leon,” a film by Luc Besson starring Jean Reno and Natalie Portman, was re-released in April in Korea after being released in 1998 and originally in 1995.
Two weeks later came the release of Remi Bezancon’s “A Happy Event,” a film about a couple who discover the challenges of marriage after having a baby.
In May, cheery romantic comedy “Populaire” and culinary comedy-drama “The Chef” starring Jean Reno and Michael Youn delighted Korean audiences.
June saw the screening of a spate of visually-artistic films. Documentary “Journal de France,” depicting the life of photographer Raymond Depardon, captured French scenery through the photographer-director’s eyes; while “Chicken with Plums” by Marjane Satrapi and Vincent Paronnaud satisfied the audience with its fairytale-like mise-en-scene.
The increasing number of screenings seems to be driving new interest in French film. This falls in line with growing interest in art-house or independent films, which are dubbed “diversity films” by the Korea Film Council.
CGV, the largest multiplex cinema chain operated by CJ Group, has increased its number of Movie Collage theaters which focus on “diversity films” from 11 in April to 19 in June. One more theater will be launched by the end of this year.
Lotte Cinema has followed CGV’s move by creating an art film theater called “Arte.” As for Cine Cube, an independent film theater in Gwanghwamun, there has been a doubling of its customers in the past two years, according to Manon Jin, CEO of Cinema de Manon.
“When we speak of diversity films, French films can’t be missed out. Naturally, more French films are being shown on screen,” said Pack Myung-sun, CEO of Pan Cinema.
Economic considerations are also behind the influx of French films.
“Importers are becoming more interested in French films because they seem to ‘sell better’ compared to the past. Movies like ‘Amour’ or ‘Untouchables’ that did well in theaters created a trend among importers to competitively bring in films like these,” said Pack.
According to a CGV official, the theater doesn’t “purposely allocate more French films.”
“If people seem to feel there are more French films we’re showing, it’s probably because of the trend among importers and distributors,” she said.
The merit of bringing in art films or independent films, in which French movies are usually categorized in, is the profit that comes from selling them as DVDs or videos.
“The movies that are released in the independent cinemas are usually sold in the form of DVDs or videos in the additional publication rights market. This market itself is huge, giving French film importers a good reason to bring in French films as more people are craving for diverse genres of movies,” said Jin.
The overall change in style in French movies has also played a big part in attracting more Koreans.
“If in the past, French movies were more creativity-oriented_ disregarding the audience and being more writer or director-centered _ now it seems the movies are more audience-friendly. These efforts are apparent in newly-released films,” said Pack.
The Seoul-based French Institute’s regular screening of French films, in partnership with an independent cinema, is another contributing factor.
“We have shown French films every week for the past seven years and this may have created demand for French movies,” said Joo Young-ae, vice-manager of audiovisual at the French Institute in Seoul.
More award-winning French films are expected during the summer vacation season.
“Dans la maison” or “In the House” directed by Francois Ozon, which received a critic’s award at the Toronto International Film Festival last year will be released Thursday as will “L'homme Qui Voulait Vivre Sa Vie” or “The Big Picture” based on the novel by Douglas Kennedy.
“Camille Rewinds,” directed by Noemie Lvovsky, which won a Prix SACD at the 2012 Cannes Film Festival, will be released on July 18.
In August, actor-director Agnes Jaoui, who won a Cannes award for screenplay with “Look at Me” in 2004 will be back on screen with the Carine Tardieu-directed “Du vent dans mes mollets” or “The Dandelions,” a cute comedy-drama about a nine-year-old and her friend.
“I think it’s great that there are more French movies to watch. Whereas in the past French movies were difficult and ambiguous for the audience to understand, I think movies released nowadays are easier to grasp the story,” said Kim Ji-sun, an official at the Korea Tourism Organization, who speaks fluent French and often goes to see French movies.
“The movies feel less like French movies as they are more commercialized and less abstract. I think the importers are choosing ones that can get closer to the Korean people’s sentiment. Koreans are also becoming more open to different culture’s films.”