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By new wave female auteur yim soon—rye, a fictionalised account of the korean women's handball team. 2016's the truth beneath, directed by lee kyoung—mi, is a fast—paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co—written by park chan—wook, and unlike his erotic thriller the handmaiden, also from 2016, didn't get invited to major festivals. it's really interesting to think why that was. and i think partly that was because festival programmers and directors were not paying attention to films by women and films about women, an...

There have been some noticeable breakthroughs including in 2008, forever the moment, by new wave female auteur yim soon—rye, a fictionalised account of the korean women's handball team. 2016's the truth beneath, directed by lee kyoung—mi is a fast—paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co—written by park chan—wook, and unlike his erotic thriller the handmaiden, also from 2016, didn't get invited to major festivals. it is really interesting to think why that was. and i think partly that was because festival programmer...

There have been some noticeable breakthroughs including in 2008, forever the moment, by new wave female auteur yim soon—rye, a fictionalised account of the korean women's handball team. 2016's the truth beneath, directed by lee kyoung—mi is a fast—paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co—written by park chan—wook, and unlike his erotic thriller the handmaiden, also from 2016, didn't get invited to major festivals. it is really interesting to think why that was. and i think partly that was because festival programmer...

There have been some noticeable breakthroughs including in 2008, forever the moment, by new wave female auteur yim soon—rye, a fictionalised account of the korean women's handball team. 2016's the truth beneath, directed by lee kyoung—mi is a fast—paced thriller about a political scandal and kidnap. it was a big hit with korean critics, although it was co—written by park chan—wook, and unlike his erotic thriller the handmaiden, also from 2016, didn't get invited to major festivals. it is really interesting to think why that was. and i think partly that was because festival programmer...

And unlike his erotic thriller the handmaiden, also from 2016, didn't get invited to major festivals. it is really interesting to think why that was. and i think partly that was because festival programmers and directors were not paying attention to films by women and films about women and partly it is probably to do with the fact that she is not such a well—known figure in the west and so doesn't have the kind of fan base that someone like bong joon—ho and park chan—wook have. but hopefully will have in future. i think it was just a very different time. maintaining a good outward appear...