# Pyongyang International Film Festival

The Pyongyang International Film Festival is a biennial cultural exhibition held in Pyongyang, North Korea. Until 2002, the film festival was reserved to "non-aligned and other developing countries".

## History

The event originated in 1987 as the Pyongyang Film Festival of the Non-aligned and Other Developing Countries (Korean: 쁠럭불가담 및 기타 발전도상나라들의 평양 영화 축전; RR: Ppeulleokbulgadam Mit Gita Baljeondosangnaradeurui Pyeongyang Yeonghwa Chukjeon; MR: Ppŭllŏkpulgadam Mit Kit'a Palchŏndosangnaradŭrŭi P'yŏngyang Yŏnghwa Ch'ukchŏn). The maiden event, held from September 1 through September 10, showed short films, features, and documentaries that were judged for competitive awards.
The film festival returned in 1990 and would be regularly held every other year. Recurrent subject matter included domestic cinema that commonly praised the high leadership such as a film shown at the 1992 film festival, verbosely translated, Glory of Our People in Holding the Great Leader in High Esteem, and foreign films about revolutionary resistance.
In 2000, officials widened the acceptable breadth of film watching by screening Japanese films for the first time when Yoji Yamada arrived to present six of his films. 2002 saw further relaxation of rules and since then the festival has been open to more than just "non-aligned and other developing countries".
The ninth festival, held in 2004, moderated cultural restrictions further with the screening of a dubbed and censored version of the British comedy Bend It Like Beckham and U.S.-produced South African drama Cry, The Beloved Country. Bend it like Beckham won the music prize and later it became the first Western-made film shown on television in North Korea.
In 2006, the Swedish horror comedy Frostbite was shown at the festival, the first foreign horror film to ever be shown in North Korea. The Schoolgirl's Diary, which was released the same year, became the first North Korean film in several decades to be picked up for international distribution, when it was purchased by French company Pretty Pictures. It was released in France in late 2007.

## Organization

The festival was held in the autumn every two years until 2018; after that, the festival has become yearly, with the 17th edition organized in September 2019. It has an international jury and both competitive and non-competitive submissions. In that sense, it is "structured ... very much like any other international film festival".
Since 2000, the festival has been dominated by films from Western Europe. Many of the films are censored and often have themes emphasising family values, loyalty and the temptations of money. In 2008, 110 films were shown from a total of 46 countries. South Korean films are not shown because of the current political climate. Films critical of North Korea from anywhere in the world are not allowed and neither are sexually explicit films. Anything else goes, and the organizers try to get as many films and visitors to attend. Diplomatic connections or the personal initiative of filmmakers is what often results in a film being admitted. The result is often "an odd mix" of films that are not united by one genre. In recent years, the festival has enjoyed recent popularity abroad, mainly due to the success of South Korean cinema prompting foreign film enthusiasts' curiosity about the North. Consequentially, film submissions have increased and the selection of films has improved in quality.
The festival is one of the few North Korean functions that actively seeks connection with the outside world. Johannes Schönherr, author of North Korean Cinema: A History and a festival delegate in 2000, said "The Pyongyang International Film Festival is a big propaganda event and foreigners who attend the event become extras in the big propaganda show."
Most Japanese films and all American, Taiwanese and South Korean films are banned in North Korea. Taiwanese and South Korean films are banned because of the anti-communist nature of their countries.

## Major award winners

| Year | Year | Golden Torch Award | Best Director | Best Actor | Best Actress |
| 1987 | 1st | A Broad Bellflower | | Jamshid Mashayekhi for The Grandfather | O Mi-ran for A Broad Bellflower |
| 1990 | 2nd | Little Bird of Happiness | | Omar Sharif for The Puppeteer | O Mi-ran for Traces of Life |
| 1992 | 3rd | Nation and Destiny (Parts 1 & 2) | | Alireza Khamseh for Apartment No.13 | Shabana Azmi for Libaas |
| 1994 | 4th | The Wild Reed (Cỏ lau) (directed by Vuong duc) | | Abolfazl Poorarab for The Bride | Kim Kyong-ae for The Kind-Hearted Girl |
| 1996 | 5th | Red Cherry | | | Guo Keyu for Red Cherry |
| 1998 | 6th | Myself in the Distant Future | | Khosrow Shakibai for Long Lost Sisters | Kim Hye-gyong for Myself in the Distant Future |
| 2000 | 7th | The Lost Love | | Bassam Kousa for The Extras | Jang Son-hui for The Earth of Love |
| 2002 | 8th | The Star | | Kim Chol for Souls Protest | Hedieh Tehrani for Party |
| 2004 | 9th | Gone Is the One Who Held Me Dearest in the World | | Wang Zhiwen for On the Other Side of the Bridge(《芬妮的微笑》) | Svetlana Khodchenkova for Bless the Woman |
| 2006 | 10th | Before the Fall | Stéphane Brizé for Not Here to Be Loved | Jan Decleir for Off Screen | Sara Capretti for Sternenberg |
| 2008 | 11th | Assembly | Feng Xiaogang for Assembly | Saša Petrović for It's Hard to Be Nice | Bita Farrahi for Mainline |
| 2010 | 12th | Walking to School | Khosro Masumi for Wind Blows in the Meadow | Fyodor Dobronravov for A Man at Home | Martina Gedeck for Bets and Wedding Dresses |
| 2012 | 13th | Lessons of a Dream | Nicholas Bonner, Anja Daelemans, Ryom Mi Hwa for Comrade Kim Goes Flying | Daniel Brühl for Lessons of a Dream | Polina Kutepova for Wind House |
| 2014 | 14th | My Beautiful Country | Shi Wei(石伟) for The Ferry(我的渡口) | Zhou Guangda(周光大) for The Ferry | Svetlana Khodchenkova for Vasilisa |
| 2016 | 15th | The Story of Our Home | Oleg Asadulin for Green Carriage | Andrey Merzlikin for Green Carriage | Paek Sol-mi for The Story of Our Home |
| 2018 | 16th | Old Aunt(老阿姨)(north korean title for the film meant "The Woman Behind the Man") | Klim Shipenko for Salyut | Li Xuejian for Old Aunt(老阿姨)(north korean title for the film meant "The Woman Behind the Man") | He Saifei for Goddesses in the Flames of War |
| 2019 | 17th | Orange days | Aleksey Sidorov for T-34 | Shen Teng for Pegasus | E Jingwen for The New King of Comedy |