A tale of widowed mother–queer daughter acceptance rings just a little bit sweeter when it stays true to the reticence of its protagonist, an overly caring Korean woman with a headstrong daughter. Based on the book of the same name by Kim Hye-Jin, Lee Mi-Rang's Busan standout and feature debut, “Concerning My Daughter”, is a riveting, tender, and grounded story of kinship and mutual aid driven by the strong performances of its leading actresses.
Concering My Daughter screened at Busan International Film Festival
When the widowed Oh Ju-hee (Oh Min-ae) reluctantly extends an invitation to her daughter Green (Lim Se-mi) to move in with her, she is unpleasantly surprised when Green's female partner of seven years, Rain (Ha Yoon-kyung), joins her in the house. Green further angers her mother when she becomes involved in a demonstration at the university where Green works, protesting the dismissal of a colleague...
Concering My Daughter screened at Busan International Film Festival
When the widowed Oh Ju-hee (Oh Min-ae) reluctantly extends an invitation to her daughter Green (Lim Se-mi) to move in with her, she is unpleasantly surprised when Green's female partner of seven years, Rain (Ha Yoon-kyung), joins her in the house. Green further angers her mother when she becomes involved in a demonstration at the university where Green works, protesting the dismissal of a colleague...
- 11/5/2023
- by Olivia Popp
- AsianMoviePulse
Iqbal H. Choudhury’s “The Wrestler” and Mori Tatsutya’s “September 1923” were announced joint winners of the New Currents competition at the Busan International Film Festival.
“The Wrester” “was like a single round match, magically depicting an exciting narrative,” the jury said. “We support the bravery to face the history that had been forgotten,” the jury said of “September 1923.”
In the separate Jiseok competition, open to more experienced Asian filmmakers, the joint winners were Prasanna Vithanage’s “Paradise” and Mirlan Abdykalykov’s “Bride Kidnapping.”
“Vithanage exposes how a corrupt regime ruins this beautiful country by obstructing peace, depriving its citizens of humanity as they corner them into oppression,” said the separate Jiseok jury. Calling “Bride Kidnapping” a “powerful film,” the Jiseok jury said, “This film vividly depicts the prevalent shocking customs in Kyrgyzstan with unforgettable characters and a straightforward narrative.”
The prizes were presented on Friday at a closing ceremony...
“The Wrester” “was like a single round match, magically depicting an exciting narrative,” the jury said. “We support the bravery to face the history that had been forgotten,” the jury said of “September 1923.”
In the separate Jiseok competition, open to more experienced Asian filmmakers, the joint winners were Prasanna Vithanage’s “Paradise” and Mirlan Abdykalykov’s “Bride Kidnapping.”
“Vithanage exposes how a corrupt regime ruins this beautiful country by obstructing peace, depriving its citizens of humanity as they corner them into oppression,” said the separate Jiseok jury. Calling “Bride Kidnapping” a “powerful film,” the Jiseok jury said, “This film vividly depicts the prevalent shocking customs in Kyrgyzstan with unforgettable characters and a straightforward narrative.”
The prizes were presented on Friday at a closing ceremony...
- 10/13/2023
- by Patrick Frater
- Variety Film + TV
‘Paradise’ and ‘Bridge Kidnapping’ also take major prizes.
Bangladesh drama The Wrestler and Japanese feature September 1923 have won the top awards at the 28th Busan International Film Festival.
The two titles were named joint winners of Biff’s New Currents competition, which includes first or second features from rising Asian filmmakers.
At a press conference in Busan today (October 13), the festival also revealed Sri Lanka’s Paradise and Kyrgyzstan’s Bride Kidnapping as joint winners of the Kim Jiseok Award, open to more established Asian directors with at least three features to their names.
Scroll down for full list of...
Bangladesh drama The Wrestler and Japanese feature September 1923 have won the top awards at the 28th Busan International Film Festival.
The two titles were named joint winners of Biff’s New Currents competition, which includes first or second features from rising Asian filmmakers.
At a press conference in Busan today (October 13), the festival also revealed Sri Lanka’s Paradise and Kyrgyzstan’s Bride Kidnapping as joint winners of the Kim Jiseok Award, open to more established Asian directors with at least three features to their names.
Scroll down for full list of...
- 10/13/2023
- by Michael Rosser
- ScreenDaily
The most promising title in this year's Korean Cinema Today-Vision program, the section dedicated to introducing new Korean filmmakers at the Busan International Film Festival, Concerning My Daughter follows a woman's uncomfortable relationship with her daughter's same-sex partner, who comes to stay under her roof. In this assured debut by director Lee Mirang, which is based on Kim Hye-jin's novel of the same name, prejudice and empathy collide in the form of unnamed woman in her fifties, who works as a caregiver at a nursing home and frets about her and her daughter's future in Korea's rapidly changing social climate. At work, her charge is Je-hee, a woman who was formidable and beloved when she...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 10/12/2023
- Screen Anarchy
For us dazzled foreigners, it’s easy to forget that South Korea — land of superfast internet, glossy K-Pop, state-of-the-art foldable phones and “Squid Game” — is not in every respect the utopia of hypermodernity its recent global cultural boom might lead one to suspect. The nation actually lags some way behind other developed democracies in terms of LGBTQ rights, a fact that drives Lee Mirang’s supple, sincere feature debut, “Concerning My Daughter,” which locates its conflict in the fraught relationship between a gay woman and her uncomprehending parent, but finds its heart in a subtle, radiant performance by Oh Minae as the anguished mother.
Oh’s unnamed character is a widow in her fifties (which puts her quite a bit younger than her counterpart in Kim Hye-jin’s source novel) who initially seems to be living a solitary existence, stumbling under the weight of a massive watermelon, up the hill to her empty home.
Oh’s unnamed character is a widow in her fifties (which puts her quite a bit younger than her counterpart in Kim Hye-jin’s source novel) who initially seems to be living a solitary existence, stumbling under the weight of a massive watermelon, up the hill to her empty home.
- 10/8/2023
- by Jessica Kiang
- Variety Film + TV
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