The question from the press did not name a title, but the debate centers on Hur Jin-ho’s “The Assassin(s).”
“Specifically regarding the film you mentioned, I have not seen it, though I have noticed there are some controversies. It depends on each individual’s feelings,” Zhang said. “Creation and historical truth: what does historical truth really mean? History is also written by people, so is history itself truly real? Sometimes that in itself is a question mark.”
The Chinese director cited an old saying from his country that creative work “originates from life, yet transcends life.”
“Therefore, everyone’s answer may be different. But as creators, we respect every creator’s vision,” he said. “Perhaps that is precisely where cinema’s fascination lies.”
Jung allowed that the way a film handles a story can leave some people hurt, and that such pain can naturally come out in wounded reactions.
“But on the other hand, honestly, when such immediate reactions follow speaking about or expressing something after watching a film, it makes me think: what should we do next time?” she said. “Nevertheless, regardless of where a film began or where it sprouted from, the people who make films bear all the responsibility within it, because it is a world we created.”
Bi described competition as a way to bring films of value into a shared discussion rather than simply to pick a winner. Tran, who said she has been coming to Busan and its Asian Project Market for 20 years and called the festival “a home in October,” said Busan would elevate Asian cinema “to a whole new level” and that the competition was crucial to that.
The 31st Busan International Film Festival runs through Oct. 15.
