Finecut signs multiple Cannes deals
By Patrick Frater
Thu, 19 May 2011, 15:12 PM (HKT)
Japanese distributors were out in force buying a pocketful of rights to Korean films represented by sales agent Finecut Co Ltd 화인컷.
Bitters End Inc ビターズ・エンド acquired Japan rights to The Day He Arrives 북촌방향 (2011)(pictured), the new film by HONG Sang-soo 홍상수 | 洪常秀 which plays in the Cannes Film Festival' Un Certain Regard section. The company also bought a trio of previous Hong films: Hahaha 하하하 (2010), Oki's Movie 옥희의 영화 (2010) and Like You Know It All 잘 알지도 못하면서 (2009).
King Records Ltd キングレコード, which previously released Finecut's Bedevilled 김복남 살인사건의 전말 (2009) and Chaw 차우 (2009), acquired Finecut's mystery thriller Midnight F.M. 심야의 ＦＭ (2010), starring SU Ae 수애 and YOO Ji-tae 유지태 | 劉智泰.
Troubleshooter 해결사 (2010), Bedevilled, Enemy at the Dead End 죽이고 싶은 (2010), The Outlaw 무법자 (2010) and celebrated short film Night Fishing 파란만장 (2011) were sold to Sundream Motion Pictures Ltd 驕陽電影有限公司 in Hong Kong. Night Fishing, which was shot using iPhones, was also licensed to Magnolia Pictures for North America.
Animation Leafie 마당을 나온 암탉 (2011) was sold to TDH Home Entertainment for the Middle East.
Over-long self-portrait by director Kim Ki-duk is a mix of egotistical artifice and confessional honesty.
| 김복남 살인사건의 전말
Gory genre item takes too long to get to the money shots.
Serial-killer thriller with a blind heroine has effective moments but doesn't fully realise its potential.
The Day He Arrives
Playful rondo of meeting, drinking and sleeping is thin but enjoyable.
Enemy at the Dead End
| 죽이고 싶은
Clever black comedy about two hospital patients trying to kill each other pretty much goes the distance.
More of the same from Hong Sang-soo, but half a notch down from his last, Like You Know It All.
| 마당을 나온 암탉
Likeable, if very traditional, cartoon about a battery hen who flees the coop.
| 심야의 ＦＭ
Slick thriller about a female DJ vs a serial killer develops into a conventional action movie.
| 옥희의 영화
Hong Sang-soo at his most compact and charming, in a four-part tale of love and film-making.
Well-mounted but poorly constructed police drama goes completely off the rails in its second half.
Hard-driven, 24-hour thriller benefits from not taking itself too seriously.
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