The Korean Film Council, in partnership with the Korean Cinematheque, will host the inaugural Korean Film Festival in Los Angeles. The event, which carries the theme "It's Alive: Korean Film Genre Hybrids and Hollywood Remakes," will kick off Nov. 15 with the L.A. premiere of Kim Tai-sik's road movie "Driving With My Wife's Lover."

Closing the festival Nov. 17 will be the L.A. premiere of Han Jae-rim's gangster film "A Show Must Go On." Both helmers will be in attendance with their films.

Sponsored by the Korea Times and The Hollywood Reporter, KOFFLA will take place at the Fairfax 3 Theaters and screen more than 15 films.

The Korean Council was established in 1976 by South Korea's Ministry of Culture and Tourism to promote the country's film industry.

By Barbara Johnson

Good Staffers at KOFFLA

Sympathetic serial killers

Today was a slow day for me here at KOFFLA. Although four films were screened, I only caught one. But wow, what a film it was. But before I move onto the film, let me just talk briefly about the way this festival is being run.


Although as festivals go this is a small one and the films are showing on only one screen, the festival hasn't skimped on staff. There are always plenty of friendly staffers around to welcome you, answer questions, and tell you where to go. These are some dedicated folks, and I want to applaud them.


The festival has also managed to persuade the City of Los Angeles to cordon off some meters so festival-goers can park all day without paying a cent. In a city where parking is at a premium, this is awesome, especially since this particular theater doesn't have a parking lot. The festival organizers are clearly going out of their way to make the festival as easy and convenient as possible for attendees. This attendee is very appreciative.


Now on to the movie. The movie was Save the Green Planet, a scifi comedy about a young man who kidnaps the CEO of a certain company in the belief that the CEO is actually an alien here to destroy the earth. I wasn't sure what to expect from this film, but it opened strong, setting up the story even before the opening credits began, and the pace never let up. Thinking of the pace reminds me of the panel on Thursday, where panelists mentioned that Korean audiences tend to be impatient, and they won't sit through anything they find slow-moving or boring.


This film certainly isn't either of those things, although it does contain some pretty graphic violence. Would it work as a remake? I think it could, especially if Hollywood was careful to maintain the emotional balance that kept the audience wavering between revulsion and sympathy for the serial killer protagonist.

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