Busan Film Festival insiders push for generational change amid allegations of sexual misconduct and cronyism The Hollywood Reporter

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Busan Film Festival

Woohae Cho/Getty Images

With less than four months to go until the opening ceremony of the 28th Busan International Film Festival (BIFF), widely regarded as Asia’s most influential festival, the event remains mired in turmoil, with insiders waving from more and more for a change of generation. Korean industry figures told The Hollywood Reporter that they are concerned both about the immediate organization of the upcoming festival, which runs from October 4-13, and the potential damage to BIFF’s global reputation, as allegations of cronyism and sexual misconduct continue to reverberate through high-end festivals.

On Thursday, the festival board formally apologized for its mishandling of a recent sexual harassment allegation, saying it would appoint a sexual misconduct counseling center in Busan city to investigate the matter.

We sincerely apologize for the case of sexual harassment that occurred at our workplace, the festival said in a statement, adding that it will put in place a system to prevent recurrences.

The festivals’ recent descent into self-destructive infighting has been swift but complex. It all started in May, when BIFF President Lee Yong-kwan, one of the three original charismatic co-founders of the event, abruptly announced that he was creating the new position of General Manager at the top of the festival. The role would oversee festival budgeting and operations, taking those responsibilities away from current festival director Huh Moon-young, who would only retain control of artistic choices for events. Lee then appointed his friend and associate, Cho Jongkook, a Korean Film Council veteran and another seasoned industry statesman, to the new post.

Days later, Huh, an experienced film critic and programmer who had worked with the festival and its supporting organizations for years, said he would step down. Industry onlookers decried the situation, arguing that Lees’ moves reeked of cronyism and that stripping the festival director of budgetary powers would weaken the festival’s artistic independence. The Korean Film Producers Association later released a statement in support of Huh, urging the BIFF board to reverse the co-directing system and create an environment for Huh to lead the festival.

Lee, who had been with the festival in various capacities since its launch in 1996, responded by announcing his own resignation as a gesture of taking responsibility for the imbroglio. Nevertheless, on May 31, the festival released a statement saying that Huh was stepping down for personal reasons. Two days later, the festival board approved his resignation.

Then the next bombshell dropped: Korean media reported that amid the turmoil, a festival employee contacted the Center for Gender Equality in Korean Cinema with allegations of sexual harassment against Huh. More outrage ensued, with critics angry at the non-transparent characterization of Huh’s resignation festivals as a personal matter. Huhs’ accuser remained anonymous, but he allegedly verbally harassed the employee and issued inappropriate work orders. Huh denied the allegations.

Meanwhile, the festival’s current direction and how it will stage a successful 2023 edition remains unclear. In May, the BIFF board asked Cho, Lees appointed to the new post of chief executive, to make a voluntary decision on his position, but he refused to resign. Lee maintained that he would step down, but did not say when that would happen. Last week, BIFF said its lead film programmer, Nam Dong-chul, another respected former critic, would step in to run the event on behalf of the vacant festival director. But on Tuesday, Nam told local media there was ongoing confusion over festival leadership appointments and called on the festival board to hold an extraordinary general meeting to decide the status of the two Chos. Lee then fired back saying that the council should hold a special meeting to discuss Nam’s status before Nam has a voice on Cho’s role in the festival.

While its management remained upset, the festival attempted to move on from the controversy surrounding the allegations against Huh with an apology on Thursday. But a festival staff member, speaking on condition of anonymity, told THR that there has long been a culture of inappropriate sexual remarks among festivals, mostly senior male executives.

Some of the festival’s senior staff members have at times acted in inappropriate ways and made remarks, which do not meet the standards or expectations of gender sensitivity required by younger staff, the festival insider said, adding that they cannot comment on specific allegations. against Huh, who is still under investigation. But it was an issue raised by some female festival staff before, they add.

When asked to comment, a BIFF spokesperson said: We were still shocked and confused about Huhs’ resignation. All that can be said for now is that an investigation is ongoing. There is a lot of speculation in the media, but the board has yet to make a decision on Cho Chong-guk’s status.

The festival will go on, another BIFF staffer says of the current overlapping scandals. After all, the Busan International Film Festival is an organization run by more than 200 people.

They add: I see it as a transition process between the old festival generation and the new one, but I think this transition should have been prepared well in advance, step by step. It seems to have been done in a hurry.

Added a spokesperson for the Busan Film Critics Association: The festival has been monopolized by President Lee for too long. I have not seen a festival where the influence of presidents is as strong as in Busan. It’s time to give talented young film professionals a chance and unveil a transparent succession process.

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