These are twelve short films you shouldn’t miss at the Jecheon International Music & Film Festival which is taking place from August 10 – 15, 2023 in Jecheon, Korea.

Yumi, a young woman working at a record store, is on the verge of turning 27. As her birthday approaches, she is filled with apprehension due to the infamous ’27 Club’ associated with Kurt Cobain and the fate of other Western rock stars. This film explores the existential fears that young adults experience as they enter adulthood, portrayed through daydreams and imaginary live performances. Against the backdrop of a nostalgic vinyl record store, Yumi and her fellow staff members, along with the store owner and a variety of unique customers, take center stage. (Kim Song-hee)

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Have you ever pondered the ideal dwelling where you would want to spend the entirety of your life? If not, the proposition put forth by Architect A is bound to captivate you. This film embraces architecture that celebrates the future by honoring the past. It begins with an elderly woman commissioning a new space from a retired architect, resulting in an animated masterpiece that crafts a haven for cherished memories. Through this healing journey, Architect A offers immense satisfaction both visually and aurally, creating an enriching audiovisual experience. (Nam Sunwoo)

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A girl stumbles upon a discarded guitar on the street, missing one string. This seemingly inconsequential moment sets off a journey to find replacement strings, which unexpectedly transforms into an extraordinary adventure. The film does not dwell on this sentiment. In an age where convenience is just a click away, Between Us stands as an earnest anthem to the purity of passion that may have faded away. Aware that all six strings are necessary to play the guitar, the girl defiantly strums the instrument with one string missing. This moment echoes the initial stumbling and awkwardness we experience with music and first love. (Lee Yongcheol)

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Kim Young-eun’s music films possess an inherent experimental quality that defies easy categorization within traditional cinematic boundaries. However, it is crucial to prioritize a musical discussion over evaluating their experimental nature, as these films showcase the director’s professional expertise. This approach renders them particularly resonant for audiences deeply immersed in the realm of music. The film delves into the introduction of the piano to Samunjin in Daegu, exploring the historical debates surrounding standard musical notation. The imagery adeptly captures the piano’s journey, evoking a nostalgic sense of time travel to the early 20th century. (Lee Yongcheol)

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Satomi, a Japanese woman, is captivated by the radiance emitted by Jiyoung, a Korean man who aspires to become a rock star. Jiyoung shines brightly with his passion for music. Meanwhile, Satomi, who yearns to shine herself, embarks on a journey from a hair salon to rice paddies in search of her true calling. However, deciding on a dream is a challenging task for her. Fighting Satomi, a film that shows the essence of Japanese movies from the 2000s, remains true to its kitsch style while simultaneously rooting for the aspirations of the affluent youth. The film’s clever imitations of popular dramas and the use of karaoke subtitles are endearing, thanks to its simple yet heartfelt sincerity. (Nam Sunwoo)

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The smell of Invisible intensifies as strangers come into contact with one another. Jae-hee, who sets foot into her husband’s countryside motel for the first time, feels an inexplicable uneasiness around Maxim, a foreign worker. While working at the reception counter, Jae-hee becomes increasingly anxious as Maxim’s presence feels like a form of surveillance. The film explores the tension between these two individuals, both grappling with their own vulnerabilities and the intrigued gaze of the motel’s residents. Through its deliberate ambiguity, the director deftly avoids providing easy answers, prompting us to reflect upon the intricate realities that lie beyond the screen. (Nam Sunwoo)

Ho-jin and Jung-sook make a pact to form a “26-year-old club” in order to follow in the footsteps of rock stars who achieved legendary status at the age of 27. Having forged such a bond through a blood oath during their high school days, the two friends find themselves reuniting after nine years in different circumstances. The Live Forever project commences, fueled by the youthful determination of teenagers brimming with boundless possibilities, as it grants a voice once again to those who have lost sight of their dreams amidst the demands of the world. The final scene of the movie, resembling a buddy movie, appears to be the moment when the friendship between adult characters blossoms. (Nam Sunwoo)

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On the subway, a woman engrossed in writing lyrics catches the attention of a man who seems displeased. This movie tells the story of a relationship that begins with an unusual encounter. Just like the lyrics of the songs discovered during the back-and-forth journeys, My Worst Nightmare unfolds as a romantic comedy set in the daily space of the subway. The film aims to transform this space, often seen as a symbol of exhaustion due to overcrowded commuters, into a delightful and charming atmosphere. It envisions a daily life filled with such enchanting melodies. (Lee Yongcheol)

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Wol-rye, who lives alone after the death of her husband, is contacted by her local friend, Sam-boon. Reluctant at first, Wol-rye finds it hard to ignore the request of her friend, who is lying in the hospital. And so, with hesitation, she makes the decision to listen to Sam-boon’s whispers, unaware of the unexpected consequences that await her. Opium, a psychological thriller that revolves around the elderly, coolly examines the anxieties of characters living in the shadow of death. The final scene, which juxtaposes the sound of burning firewood and the breathing of the elderly, captures the intertwining emotions of loss and guilt, hinting at the last flickering of the soul. (Nam Sunwoo)

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Traditional plays adhere to strict forms rooted in their history, but these limitations can be frustrating for the younger generation. As there are few audiences seeking traditional plays, the Zhen Ge opera company performing Peking opera faces a crisis. However, an apprentice proposes a revolutionary idea. This movie showcases brilliant concepts, such as a game character unexpectedly appearing on a traditional stage or an animated sequence. The film showcases the power of innovation within the performing arts. (Kim Song-hee)

This film beautifully weaves a story that resonates with the lyrics of the song of the same title performed by Choi Baek-ho. Ji-young and Jin-ah, who are busy preparing for a play, impulsively decide to embark on a journey to Busan after a heated disagreement with the theater company’s head. Leaving behind unresolved matters, the two find themselves turning their rental car into a karaoke room and a beach into their stage. As they imagine the light at the end of the tunnel, they “face the fragments shattered by the waves,” echoing the words of Choi Baek-ho’s song. Kang Jin-ah, portraying Ji-young, and Park Jiyeong, portraying Jin-ah, deliver a delightful performance. (Nam Sunwoo)

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To what extent should the yearning to create be allowed? Yeo-yeong finds herself in a challenging predicament as she struggles to complete her writing for a contest while visiting Haenam, where Ji-yeon resides. This journey becomes a rare opportunity for her to escape from reality. While she discerns a promising path for Ji-yeon, who seeks inner tranquility, Yeo-yeong herself remains unable to perceive the truth. This film invites introspection, encouraging viewers to examine themselves from a slight distance during times when life’s demands relentlessly chase them, obscuring their true essence, or when the significance of commonplace journeys eludes their grasp. (Lee Yongcheol)

For more information, please visit: https://www.jimff.org