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FEFF 8: Diary of a 'antipasti' in Lost in Udine

Day 7. Thursday 05 May: A Tarantino in Mongolia

Hello, cineasiáticos. A film excels at programming Thursday. Little known until the date of the film of Mongolia except the few films that have come to Spain: The Story of the Weeping Camel or El Perro Mongol , all custom to make movies in co-production with European countries, and serve to show us every day in the Mongolian steppe. But it is another kind of cinema in Mongolia?

Operation Tatar shows yes. That there is a popular film, beyond what we have seen so far. The first film that the FEFF has projected over its thirteen year history from Mongolia made an excellent impression on the audience. The director of it, even with an unpronounceable name to the festival director, was delighted to present the film to an audience so far. And that had not yet heard the cheers end with which the audience rewarded his belt.

The story of a robbery as imperfect as funny, might well have been signed by Quentin Tarantino , if the American filmmaker was born on the steppe, and instead of going to class, would have been content to attend any of the video stores where you will surely Bat-Ulzii Baatar has spent more than a day. A cocktail of humor, blood, a few drops of gore, which are involved quartet saps who plan a bank robbery. The result: a black comedy as surprising and entertaining.

The next stop of the day took us to Korea South. Chosun era. As master of ceremonies, writer I Saw the Devil and The Unjust , stuck here in management duties. The Showdown , with a structure closer to the play, together on stage three survivors of a battle three men who keep many secrets, revealed throughout the film in the form of flashbacks. The film, with a successful screenplay, is clouded by an irregular direction that affects the overall pace of the film. A director to follow, anyway.

A six-thirty in the afternoon, the brothers Ryoo Seung-wan (director) and Ryoo Seung-bum (actor), along with Foxy Festival director and moderator Darcy Paquet, had a long conversation with reporters this about his latest films and Korean films in general. My image of Sung-wan Ryoo of when he came to Sitges and bit naughty CineAsia magazine was somewhat distorted, not in vain the years passed and only laughed when her image could feel lighthearted and fun, perhaps become the story we has his new film, The Unjust into something more serious and less shameful. His brother, Ryoo Seung-bum pristine, immaculate, black with white jacket and sunglasses: a star and star in the firmament of the Korean system, and it showed a lot. In any case, socialize with them about Korean cinema, as you know one of our favorites, was a pleasure that has no buts, no comparison. Soon we will raise the photos we could be making the talk (do not expect too that our motive is not an iPhone).