Director:Yoon Seong-ho Running Time: 101 mins
Thu 26 Jun, 15:00
Filmhouse 2
The Milky Way Liberation Front signals its quirky attitude from the beginning scene; young characters make monster noises in the forest for an oversized sound recording machine. After jumping in and out of different media - from the grainy black and white opening section to the oversaturated colour in an online television drama – Milky Way lands to rest on its central theme of young filmmakers in South Korea. The subject matter is not particularly new but the film plays out with some humorous and beautiful touches such as the impromptu music jam on the subway train and the various scenes in which the voice of budding director Yeong-jae (Lim Ji-gyu) comes out as trumpet music. Set mainly at the Pusan International Film Festival, Milky Way offers an astute view on the state of the South Korean film industry post-turn of the century boom. More often that not, the South Korean industry plays out as younger sibling to Japan’s more established films, movie stars and production finance. Yeong-jae explains that if films are love letters to the audience, his films are emails, and it is this spirit that seems to encapsulate the idiosyncratic nature of the Milky Way Liberation Front.
Thu 26 Jun, 15:00
Filmhouse 2
The Milky Way Liberation Front signals its quirky attitude from the beginning scene; young characters make monster noises in the forest for an oversized sound recording machine. After jumping in and out of different media - from the grainy black and white opening section to the oversaturated colour in an online television drama – Milky Way lands to rest on its central theme of young filmmakers in South Korea. The subject matter is not particularly new but the film plays out with some humorous and beautiful touches such as the impromptu music jam on the subway train and the various scenes in which the voice of budding director Yeong-jae (Lim Ji-gyu) comes out as trumpet music. Set mainly at the Pusan International Film Festival, Milky Way offers an astute view on the state of the South Korean film industry post-turn of the century boom. More often that not, the South Korean industry plays out as younger sibling to Japan’s more established films, movie stars and production finance. Yeong-jae explains that if films are love letters to the audience, his films are emails, and it is this spirit that seems to encapsulate the idiosyncratic nature of the Milky Way Liberation Front.
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