BIFF – the Busan International Film Festival – has long been a flagship event synonymous with the rise of Korean cinema. However, in recent years, the festival has been plagued by scandals and disputes. This year, it finds itself embroiled in controversy again with its opening film produced by Netflix. Might the festival’s shining legacy be showing signs of dimming?

Founded in 1996, BIFF has played a pivotal role in gaining international recognition for Asian cinema, firmly placing Busan and Korea on the global film circuit. Held annually, the festival was conceived as a platform to showcase the dynamic talent emerging from Asia. In its early years, BIFF established itself as a hub for independent films, offering a stage to voices often sidelined by mainstream media. By celebrating bold, innovative works from across Asia, it cultivated a diverse audience and encouraged international interest in Asian films. Chinese director Jia Zhangke, whose feature Still Life won the Golden Lion at the Venice Film Festival in 2006, acknowledged that his career began in Busan when he received the New Currents Award in 1998.

Beyond promoting Asian cinema internationally, BIFF became a cultural meeting point where filmmakers, critics, and enthusiasts gathered to exchange ideas and foster collaborations. This global exposure elevated Korean filmmaking and helped shape the industry’s growth.

In 2014, BIFF became entangled in a major scandal over the documentary Diving Bell, which criticized the South Korean government’s response to the Sewol ferry disaster. The Busan city government requested the film be removed from the lineup, but BIFF’s chairman, Lee Yong-kwan, refused, asserting that the festival’s independence and artistic merit must come first. In response, the city slashed funding, leading to a tense standoff. This conflict left lasting consequences, as many began to see BIFF as entangled in political disputes, raising questions about its neutrality as an artistic platform.

Further turmoil erupted in 2023 when Lee Yong-kwan, now the festival’s president, appointed his close ally, Cho Jong-gook, as co-chairman. This decision sparked outrage, with critics questioning the transparency and fairness of the festival’s leadership. These scandals have damaged BIFF’s reputation, prompting concerns about whether it can maintain impartiality in the face of political and personal interests.

This year’s decision to open the festival with Uprising, a Netflix-produced film set to debut on the streaming platform, has stirred debate. Critics argue that the choice undermines BIFF’s mission to promote films as an art form meant for the big screen. At a press conference, acting chair Park Do-shin explained that while independent films have traditionally opened the festival, the choice this year was aimed at attracting mainstream appeal. His comments raise the question: Is BIFF moving away from its roots as a platform for marginalized Asian cinema? Director Kim Sang-man, whose film opened the festival, questioned whether screen size should determine the quality of a film. However, die-hard fans could be disappointed by remarks that seem to imply there is no difference between attending a film festival and watching a film on a digital platform.

Despite competing with prestigious festivals in Europe and America, BIFF quickly carved out its own identity. Yet recent scandals, a decline in attendance during and after the pandemic, and reduced financial support from Busan city have compounded to leave the festival in a state of disarray. It may be time for BIFF to return to the drawing board and re-evaluate its identity and future direction.