Busan 2026

‘Earbug’ turns a young woman novelist’s creative block into a disturbing exploration of childhood trauma, supported by superb voice performances but weakened by thematic excess and uneven characterisation.

Korean director Shin Sun crafts a quietly inquisitive meditation on chance and uncertainty in ‘Nothing Has Happened Yet’, although its romantic preoccupations and later pacing narrow its horizons.

Majid Majidi’s masterful story of a schoolteacher from rural Iran, ‘Midday Meal’, took home top honors at the 31st Busan International Film Festival.

Jeong Ji-hye’s tender second feature ‘Full Moon’ pairs an occasionally overexplained coming-of-age narrative with exceptional casting and beautifully judged performances.

Chinese filmmaker Story Chen makes her bow at Busan with ‘There Will Be Snow’, a futuristic, frosty and strangely forbidding first feature about two former lovers reuniting in their dystopian hometown.

Filmmaker Jang Woo-jin delivers a moving, meditative and masterful paean to mortality in his fourth feature, which bows in Busan’s Vision Korea competition.

The portrait of a fiery punk on stage and off, Arvin Belarmino’s ‘Ria’ celebrates rebellion against a greedy society and an unjust system.

Actress Anjali Patil’s delicate turn as an overstretched homecare worker anchors ‘Selvi’, Sailesh Rathnakumar’s humane feature-film debut.

Returning to Busan after 15 years, Michelle Yeoh talks about her latest film, Korean movies she loves, and the injury that nearly ended her career.

A subtle celebration of the transformative power of the written word, ‘Sakoto Always’ features three women in very different stages in life.

On his second round as Busan’s festival director, Jung Hanseok reaffirms the festival’s mission as a showcase for Asian talent and quality filmmaking, while giving audiences a memorable experience.