At a pre-festival press conference in Cannes, France, **Park Chan-wook**, the acclaimed South Korean director, articulated his unique dual strategy for evaluating entries as the **79th Cannes Film Festival’s jury president**. Held before the festival’s official opening on Tuesday (local time), Park’s insights set the tone for the highly anticipated cinematic event.
Speaking from a video posted on the festival’s official website, Park expressed his intent to “watch the films with a sense of excitement, without prejudice, preconceptions or fixed ideas, waiting to see which work will surprise me.” However, he added, when discussions begin, he would engage “as a professional with clear views and an understanding of cinema history,” showcasing his balanced approach to **film judgment**.
When queried by a reporter about the separation of **art and politics**, Director Park firmly rejected the notion.
He stated, “It is strange to think of politics and art as opposing concepts,” emphasizing that films conveying **political messages** should not be dismissed as “the enemy of art” provided they are expressed effectively, highlighting his progressive view on **cinematic expression**.
The **79th Cannes Film Festival** proudly showcases **three South Korean films** across various prestigious sections, underscoring the nation’s burgeoning **global cinematic influence**. These include Director **Na Hong-jin’s** highly anticipated sci-fi thriller “**Hope**,” vying for the festival’s top honor. Additionally, Director **Yeon Sang-ho’s** gripping zombie thriller “**Colony**” is featured in the non-competition Midnight Screenings section, while Director **July Jung’s** poignant coming-of-age drama “**Dora**” screens in the Cannes Directors’ Fortnight.
Park asserted that “**Korea is no longer a peripheral country in film**,” crediting this significant shift as a factor in his appointment as **jury chief**. He humorously reassured attendees, however, that he would not grant “extra points” or show favoritism towards Korean entries due to his national affiliation, reaffirming his commitment to **fair evaluation**.
Park Chan-wook’s distinguished history with the **Cannes Film Festival** began in 2004, when his critically acclaimed film “**Oldboy**” secured the prestigious Grand Prix. His success continued with the Jury Prize for “**Thirst**” in 2009, culminating in the Best Director award for “**Decision to Leave**” in 2022, cementing his legacy at the festival.
Reflecting on the broader evolution of the film industry, Park emphasized that the ascendancy of **Korean cinema** signifies more than just a shift to the center; it represents a wider expansion and diversification of **global film culture**.
He further elaborated, “The center itself has expanded to embrace more diverse films from more countries,” illustrating a more inclusive landscape for international filmmaking.
Despite his profound and long-standing association with the festival, Park confessed to a brief moment of hesitation before accepting the demanding **jury president role**.
Acknowledging the intensity, he stated, “I knew from experience how stressful it can be.” Ultimately, however, he recognized his deep gratitude, concluding, “But I realized I have received so much from Cannes over the years, and that it may be time to give something back,” underscoring his dedication to the festival’s enduring legacy.
