The Busan International Film Festival (BIFF) and its accompanying Asian Project Market (APM) served as a dynamic nexus for global cinema, spotlighting diverse narratives from Asian filmmakers, fostering crucial industry discussions on international co-productions, and hosting masterclasses with legendary directors. The events underscored the evolving landscape of filmmaking, where cultural specificity meets global ambition.

Among the compelling projects presented at APM was "The Skull Oracle," the upcoming feature from Taiwan’s first female aboriginal director, Laha Mebow. This dark, intergenerational story delves into the lives of Tayal indigenous women, tracing the history of a shaman family and exploring how ancestral memories resonate into modern times through a blend of tribal legend, fantasy, and romance. Inspired by Mebow’s own grandmother, the film aims to reclaim a lost spiritual dimension, following a female surgeon named Zhen who confronts her spiritual legacy after encountering her great-grandmother, a powerful shaman, in a dream. Producer Eric Liang emphasized Mebow’s potential as a voice for Taiwanese indigenous culture, seeking international partners at APM to combine commercial value with cultural depth.

Sikkimese filmmaker Tribeny Rai introduced her debut feature, “Shape of Momo,” which premiered at BIFF and will also screen at San Sebastián. Rai’s film offers an unflinching portrait of women navigating patriarchal expectations in a Himalayan village, deliberately avoiding romanticization of mountain communities. The Nepali-language drama centers on Bishnu, who returns home only to face escalating family pressures and societal expectations. Rai drew inspiration from her own experiences, articulating a “quiet struggle” common to her generation – the feeling of belonging nowhere while caught between village and city life. The India-South Korea co-production, which has garnered worldwide sales rights from Celluloid Dreams, has successfully traversed numerous festival labs, marking its significance in the emerging landscape of Northeast Indian cinema.

Korean director Jo Heeyoung also brought her latest feature, “Arrival of Water,” to APM. Produced by Park Sejin, the project explores profound themes of grief, language, and cultural dislocation within both Korean and Japanese contexts. Inspired by her grandmother’s stroke-induced speech impairment and her own experiences with “spaces between languages,” Jo uses water as a symbol for connection in the face of loss. The film navigates inherited trauma and imperfect communication, framing “gaps” in language not as challenges but as spaces for new meaning to emerge. Developed as a Korea-Japan co-production, the team seeks partners at APM who understand the nuances of the Asian and European art-house landscape and respect the director's artistic vision.

Beyond showcasing new projects, BIFF offered invaluable industry insights through panels like “Cinematic Connection: Secrets of Successful Asia-Europe Co-Productions” at the Asian Contents & Film Market. Producers from Japan, the U.K., Indonesia, and France discussed the unique challenges of international partnerships, particularly Asia’s distinct funding and distribution networks compared to Europe. Yulia Evina Bhara of Indonesia’s KawanKawan Media highlighted the scarcity of local funding, making co-production essential for arthouse projects. Japan’s Eiko Mizuno-Gray noted the energy consumed in finding suitable partners, while also valuing co-funding treaties. Panelists acknowledged the robust European theatrical culture but also pointed to increasing caution in North American distribution, emphasizing the need for strategic project selection and sales estimates.

A highlight for many was the masterclass led by acclaimed director Michael Mann, who made his first trip to South Korea. Mann discussed his 1995 crime epic “Heat,” emphasizing its nature as an ensemble piece rather than a star vehicle, praising the brilliant cast including Al Pacino, Robert De Niro, Val Kilmer, and Jon Voight. He underscored his commitment to authentic storytelling and meticulous craft, detailing the extensive live-ammunition training for the film’s iconic downtown Los Angeles shootout and his practical approach to recording its distinctive audio. Mann also confirmed that the long-anticipated “Heat 2” remains in active development, with an eye towards shooting in 2026, a testament to the original film’s enduring popularity which saw a massive surge in streaming viewership after the sequel announcement.

Collectively, these events at Busan illustrated a vibrant and complex cinematic ecosystem. From deeply personal indigenous stories and unromanticized portrayals of societal pressures to the intricate mechanics of international co-productions and the enduring legacy of a Hollywood classic, BIFF and APM continue to serve as crucial platforms where diverse narratives converge and the future of global cinema is shaped through collaboration and artistic vision.