Bucheon – The 29th Bucheon International Fantastic Film Festival (BIFAN), which concluded its 11-day run and closed on July 13th, ended with more fervent attention than ever before. This year's festival, in particular, was praised for opening new horizons by actively attempting to converge with Artificial Intelligence (AI) technology. At its core was actress Jang Mi-hee (67), who was appointed as the new chairperson of BIFAN's organizing committee in February. Her devoted efforts and insight played a decisive role in positioning this film festival as a future-oriented event that explores the intersection of art and technology, going beyond mere film screenings.

Harmony with AI: BIFAN's Challenge Towards the Future 

This year, BIFAN set an ambitious goal of "cultivating 10,000 AI filmmakers" and showcased groundbreaking attempts from the opening ceremony. Director Yang Yoon-ho's AI-utilized video left a deep impression on the audience by compressively showing humanity's evolution from the prehistoric discovery of fire through the Industrial Revolution and IT Revolution to the advent of AI new humans. Following this, dancer and choreographer Choi Ho-jong graced the stage as an "AI Humanoid," demonstrating artistic expression that transcends the boundaries between human and AI. The 10-minute opening performance, "AI Apocalypse," directed by actor Song Seung-hwan, received high praise for "expressing the essence of BIFAN, which speaks to the intersection of art and technology."

Despite a preparation period of just over three months, Chairperson Jang Mi-hee devoted her full energy to the planning, casting, and preparation of all aspects of the opening ceremony. She brought together top experts from various fields, including actor Kang Seok-woo, who hosted the event, along with Song Seung-hwan, Choi Ho-jong, and Yang Yoon-ho, creating synergy. Meeting Chairperson Jang Mi-hee at a café in Bucheon, Gyeonggi Province, on July 10th, she shared her thoughts, saying, "We did our best with a limited budget." She added, "I wanted to show that if people with great creativity and imagination come together, they can produce artistic results in a short amount of time." She further explained that she wanted the opening ceremony to be more than just an event; she wanted it to be like a single performance, with every guest's entrance and exit meticulously directed.

Returning to Bucheon After Deep Deliberation: Changes in the Film Industry and the Role of Film Festivals 

Chairperson Jang Mi-hee has a deep connection with BIFAN. She served as vice organizing committee chairperson from 2017 to 2018, and accepting the current position involved deep deliberation. "I'm not the type who likes to take on positions with 'chairperson' in the title. Knowing how much I'll devote myself if I take on a responsible role, it's not easy for me to just say 'yes.'" Behind her contemplation lay a great sense of responsibility.

Her experience co-chairing the 100th Anniversary of Korean Cinema Commemoration Committee (2018-2019) with director Lee Jang-ho, where they organized the history of Korean cinema, became a turning point in her decision to return to Bucheon. "I felt gratitude and respect that our seniors laid out the carpet (for future filmmakers) from the era of colonial pioneering films," she explained, adding, "That's why I accepted the proposal from former organizing committee chairperson Jung Ji-young."

The film industry has changed significantly from about seven years ago when she was involved with BIFAN. In an era where consuming film content through online video services (OTT) on mobile phones has become commonplace, questions may arise about the meaning of film festivals as events. Chairperson Jang Mi-hee also pondered these concerns deeply. "Even my niece said it was strange for people to gather in one place to watch a movie. We have to admit that the environment in which the new generation consumes content has changed."

However, Chairperson Jang Mi-hee still believes that cinemas can be places that lead people to new worlds beyond just physical spaces. Expressing her wish that "this film festival would be a place that offers freedom and inspiration to the audience," she emphasized the reason for reshaping the opening ceremony to align with BIFAN's theme: "I wanted to show that for the duration of the film festival, another world opens where 'it's okay to be strange.'"

Her views on AI technology are also unique. She states, "If it's a field where tremendous speed of development is already predicted, artists, even if fearful, must quickly join in and provide direction." She believes it's the role of creators to become familiar with AI technology in the predicted future, utilize it, and use that knowledge to realize creativity, thereby proactively raising moral questions related to AI technology. In today's world, where pessimistic forecasts about Korean cinema and AI technology abound, Chairperson Jang Mi-hee's conviction in the "bright side" of the future feels refreshing. This is also something she can say, having spent nearly 50 years as an actress and 30 years as a university professor (currently honorary professor at Myongji College of Technology), observing the ups and downs of the culture and arts industry.

Chairperson Jang Mi-hee emphasizes that "the crisis facing the film industry now is not just a Korean problem, and Korean filmmakers have fighting spirit." She asserts, "Having made films since the colonial era and endured harsh times due to political situations, the root of sharp creative spirit with social critical elements is firm." This demonstrates her conviction that the current crisis can be overcome based on the long history of Korean cinema and the strong spirit of its filmmakers.

50-Year Acting Career, Answered by "Steady Knocking" as an Academy Member 

Debuting in the 1976 film Seong Chun-hyang, Jang Mi-hee, in her 50th year as an actress, was honored with selection as a new member of the National Academy of Arts, Republic of Korea (the Academy) this year. When she heard the news of becoming a member of the Academy, which selects 100 members (currently 82 in total) from artists with over 30 years of experience based on recommendations, she was moved, thinking, "I knocked on the last door of the path I should take, and they accepted me."

Chairperson Jang Mi-hee has appeared in a total of 93 works over the past 50 years (2 plays, 45 films, 46 dramas). She recounted that the stack of supporting documents submitted to the Academy was more than a fathom thick, stating, "It felt like proof that I wasn't lazy, at least," and looked back on her life of only going between home, work (on set), and school.

She cited Winter Woman (1977), which revealed the true potential of actress Jang Mi-hee, along with Sequel to Hometown of the Stars (1978), Neumi (1980), Hwang Jin-yi (1986), Flower on the Equator (1983), and Deep Blue Night (1985) as indispensable films in her filmography. For dramas, she found it meaningful to have worked on projects by writer Kim Soo-hyun.

Chairperson Jang Mi-hee likened her feelings upon becoming an Academy member to the sentiments of those who arrive at Santiago de Compostela in Spain, the final destination of the 800km European Camino de Santiago pilgrimage, and bow deeply. "I did my best every day, even when my level was shallow, and when I improved, I wondered what was beyond my best and came this far. I feel like my steady knocking has been answered."

Gratitude to Fans and the Public, and Expectations for New Roles 

Chairperson Jang Mi-hee expressed her heartfelt gratitude, saying, "Someone walking their path for 50 years is not something that happens solely by one's own strength. It was possible thanks to all the people, including the fans who watched over me for 50 years, and those who looked upon me with warm hearts." She hopes that when contemporary audiences see "Jang Mi-hee," they will recall their own younger days and gain strength to live in this era. She added, "I know that those feelings can be preserved when I work hard and live uprightly," not forgetting the weight placed upon her.

Looking ahead, if she takes on acting roles, she expressed anticipation, "Now I can act in my own era." Since her debut at eighteen, she was offered roles more mature than her age, and her acting life, juggling multiple projects at once, prevented her from enjoying an ordinary teenage or twenties life, including school. "I always had to study to understand lives I didn't know, to understand 'the woman I needed to know,'" she said, adding, "Now I feel I have the comfort of being able to play roles my own age."

For now, she plans to focus on her work as the BIFAN organizing committee chairperson. Unlike the short three-month preparation period for this year's festival, there's a year until the 30th BIFAN, so she has a strong desire to do even better. "Next time, I'm even thinking about making the closing ceremony 'fantastic.' How wonderful would it be if it wasn't just about giving out awards and ending, but a joyful declaration of 'See you next July'?" Chairperson Jang Mi-hee imagined a "beautiful night" and looked forward to next year. Her endless "beautiful night" is expected to bring new hope and inspiration to the Korean film industry.