The Busan International Film Festival (BIFF) is marking its 30th anniversary not by resting on past laurels, but by embarking on what director Jung Hanseok describes as “the very beginning of a new chapter.” This milestone edition, which commenced with Park Chan-wook’s acclaimed film “No Other Choice,” represents the most profound transformation in BIFF’s history. Central to this dramatic overhaul is the introduction of its first-ever Competition section and a comprehensive reimagining of the festival’s foundational structure.

The newly established Competition section is arguably the boldest initiative in Jung’s six-month effort to revitalize the festival. It was created by merging the long-standing New Currents and Kim Jiseok programs, forming a more influential and focused platform exclusively dedicated to showcasing Asian cinema. Jung critically assessed the previous system, noting, “I came to realize that our two representative sections, New Currents and the Jiseok section, had reached their limits in terms of influence. If someone were to ask, ‘What were the winners of last year’s New Currents and Jiseok Awards?’ most people – including myself – wouldn’t be able to recall them.” This strategic change is already yielding positive results, with two invited films, Daisuke Shigaya’s ‘Leave the Cat Alone’ and Vimukthi Jayasundara’s ‘Spying Stars,’ securing sales agents shortly after the lineup announcement, demonstrating the competition’s meaningful role in elevating film profiles.

In selecting the 14 competition titles, Jung emphasized quality and intrinsic value over geographical quotas. He clarified, “Apart from the premise that the lineup must be Asian cinema, our focus was solely on the intrinsic value of each work.” This approach led to a significant representation from Japan, China, and Korea, which Jung views as “one facet of the current Asian cinema landscape that the new Busan competition section has made visible.” The inaugural trophy for the Competition, designed by Palme d’Or winner Apichatpong Weerasethakul, embodies the festival’s fresh philosophy. Weerasethakul’s design, described as resembling “a heart, or perhaps a flower vase, with a sense of water flowing inside,” symbolizes the gathering and overflowing of creators and their stories, representing something “uncoagulated, unfixed, fluid and ever-changing, just like water.”

This anniversary edition features a robust lineup of 241 films across expanded venues and includes revamped sections such as an extended Midnight Passion, a reimagined Vision program, and the return of Asian Cinema 100. Jung’s programming philosophy balances breadth with precise focus, aiming to “see the whole forest” while making “bold choices and concentrated focus within each individual program.” Forum BIFF also reflects a practical approach to industry challenges, concentrating on two critical themes: overcoming the Korean film industry crisis and assessing Asian cinema trends, featuring active industry practitioners over abstract theorists. Park Chan-wook’s “No Other Choice” was chosen as the opening film for its artistic merit and commercial appeal, serving as “a signal of encouragement” during a challenging time for the Korean film industry. The competition jury, led by “The Chaser” director Na Hong-jin, was selected for its vision and audacity, aligning with Jung's transformative goals. While Jung prefers to describe his initiatives as “establishing the competition section” rather than fully transforming BIFF into a competitive festival, he acknowledges potential for future expansion, hoping this edition will be remembered as “the bold first step in a truly transformative journey,” fostering an ecosystem where all sections coexist and work in harmony.

Parallel to BIFF’s transformation, the Asian Contents & Film Market (ACFM) serves as a dynamic platform for regional cinema. Bangkok-based horror studio Fearfolks is making its market debut at ACFM with an exciting slate of three horror and thriller titles scheduled for 2026 and 2027. Their inaugural lineup includes “Cher,” a supernatural revenge horror; “Mutelu,” a horror narrative centered on fortune-sharing rituals; and “Rinrada,” a teen cyber-horror thriller.

“Cher” stars Arak Amornsupasiri and is directed by Songsak Mongkolthong, offering a modern horror interpretation of ancient Thai folklore, specifically the legend of forest nymphs known as nang mai. “Mutelu” features International Emmy award winner Chutimon Chuengcharoensukying in a genre departure and is directed by Yanyong Kuruaungkoul. It tells the story of Bua, born into misfortune, who discovers a mysterious amulet enabling her to “borrow” others’ good fortune, inadvertently unleashing malevolent spirits. “Rinrada” is a revenge horror story starring trailblazing trans actress Yoshi Rinrada Thurapan and child actor Nutthatcha Jessica Padovanis. The plot follows an influencer who is reincarnated for 28 days to haunt the bullies responsible for her suicide.

Fearfolks was founded by former Night Edge exec Hans Audric Estialbo, alongside Benetone Film Group’s CEO and COO Rachvin Narula and Kulthep Narula. The company aims to develop an expansive horror IP value chain covering creative development, financing, production, and distribution. With initial releases like Neon’s “Shelby Oaks,” “Good Boy,” and “The Toxic Avenger,” Fearfolks also plans to open an Indian distribution office by year’s end. Estialbo describes Fearfolks as “a community of horror aficionados,” while Rachvin Narula emphasizes a focus on creative storytelling with strategic global outreach. Kulthep Narula adds that Fearfolks represents “a revolutionary ecosystem that encourages growth in the industry, from production and financing to global distribution and IP management.” Fearfolks is participating as part of the Thai delegation at ACFM.

Also showcasing at the market is Jakarta-based Matta Cinema Production, presenting a six-project slate at Busan’s ACFM, with budgets ranging from $440,000 to $1.1 million and production timelines extending through 2028. Unveiled under the banner “True Stories of Indonesia: From Local Roots to Global Screen,” Matta Cinema seeks international collaboration while maintaining an 80% focus on Indonesian audiences, as highlighted by CEO and producer Nugroho Dewanto.

The centerpiece of Matta Cinema’s slate is a trilogy of crime dramas developed in partnership with Tempo Media Group, Indonesia’s largest investigative media organization. These three films adapt real cases from Tempo’s criminal investigations, each budgeted at $600,000 and slated for production between 2026-2028 in collaboration with Pal8 Pictures. “The Doors of Kanjuruhan” dramatizes the Kanjuruhan Stadium football tragedy in Malang, where 131 people died due to tear gas and locked gates. “The Longest Night” is based on a university bullying case that led to a medical student’s death in Semarang, following a resident who fights back after a suicide attempt. “Village of the Hopefuls” tackles Indonesia’s nationwide online gambling crisis through the stories of three struggling villagers whose lives are threatened by it.

Other projects moving into production sooner include “My Own Last Supper,” an adaptation of an award-winning novel entering production in November with a $480,000 budget. Directed by Ismail Babseth, the film follows a 76-year-old widower who gathers his children for a final dinner to unveil a memoir before choosing the sea for his reunion with his deceased wife. Two additional projects are in development with Ruang Basbeth Bercerita. “Last Resort,” written by the late Gertjan Zuilhof, carries the slate’s highest budget at $1.2 million and tells the story of a Japanese single mother building an illicit “suicide tourism” business on an Indonesian island. “The Unforgettable Flavours,” inspired by the 1965 recipe book “Mustika Rasa,” has a $720,000 budget and follows a young officer’s journey across Indonesia to preserve its culinary soul amidst the political storms of 1965. Matta Cinema Production, Tempo Media Group, and Ruang Basbeth Bercerita are exhibiting at Pavilion Jakarta, supported by the Jakarta Provincial Government and Indonesia’s Ministry of Education, Culture, Research, and Technology.