Pro Tools
•Register a festival or a film
Submit film to festivals Promote for free or with Promo Packages

FILMFESTIVALS | 24/7 world wide coverage

Welcome !

Enjoy the best of both worlds: Film & Festival News, exploring the best of the film festivals community.  

Launched in 1995, relentlessly connecting films to festivals, documenting and promoting festivals worldwide.

A brand new website will soon be available. Covid-19 is not helping, stay safe meanwhile.

For collaboration, editorial contributions, or publicity, please send us an email here

User login


RSS Feeds 

Martin Scorsese Masterclass in Cannes services and offers



Established 1995 serves and documents relentless the festivals community, offering 92.000 articles of news, free blog profiles and functions to enable festival matchmaking with filmmakers.


Share your news with us at to be featured.  SUBSCRIBE to the e-newsletter.  

MEET YOUR EDITOR Bruno Chatelin - Check some of his interviews. Board Member of many filmfestivals and regular partner of a few key film events such as Cannes Market, AFM, Venice Production Bridge, Tallinn Industry and Festival...Check our recent partners.  

The news in French I English This content and related intellectual property cannot be reproduced without prior consent.


Bin-Jip's 3-Iron drive on the festival circuit



95 minutes

South Korea



Kim Ki-duk

Kim Ki-duk Film/Cineclick Asia

Director Kim Ki-duk

Screenplay Kim Ki-duk

Director of Photography Jang Seung-beck

Editor Kim Ki-duk


Lee Seung-yeon
Jae Hee
Kwon Hyuk-ho
Joo Jin-mo
Costume Designer Koo Hea-heon

Art Director Joo Jin-mo

Music Slvian


Tae-suk drives his motorcycle around Seoul, papering neighborhood doors with advertising flyers. He is not interested in making money. If the flyer remains posted, he breaks into and enters the empty house -- an uninvited house sitter who might do the owner’s laundry or mist a few plants before settling down for the night. Tension rises when the drifter discovers that he’s not in one home alone. He befriends the woman bearing bruises from her abusive husband. They run off together, staying in empty homes until they get caught.


Kim Ki-duk was born in South Korea in 1960, and moved to France after serving five years in the South Korean Army. He studied fine arts in Paris and sold his paintings in the south of France before becoming a filmmaker. Kim produced, wrote, directed and edited “Bin-Jip/3-Iron” (drama), which won the Best Director Award and FIPRESCI Best Film Award at the Venice International Film Festival, and the Golden Spike (Best Film) at the Valladolid Film Festival, both in 2004. The film played at the Toronto International Film Festival in 2004 and the Sundance Film Festival and San Francisco International Film Festival in 2005.


2004 “Bin-Jip/3-Iron”

2004 “Samaria/Samaritan Girl”

2003 “Bom yeoreum gaeul gyeoul geurigo bom/Spring, Summer, Fall, Winter…and Spring”

2002 “Hae anseon/The Coast Guard”

2002 “Nabbeun namja/Bad Guy”


South Korean filmmaker Kim Ki-duk has emerged as a unique voice, even though his films are virtually silent. With last year’s sublime “Spring, Summer, Fall, Winter…and Spring,” he blended art-film aesthetics with universal themes that speak to everyone without much need for dialogue. But “Bin-Jip/3-Iron” could use a verbal tip or two. As the title suggests, some of the symbolism is very specific. If you don’t know that a 3-iron club is the least used in a golf bag, then you’re not going to be at the top of your interpretative game.

Often it’s best not to know much about a film, so that you can meet it for the first time without expectations and simply surrender to its magic. Kim’s drama does pique your curiosity and cast a mesmerizing spell. A mysterious young man credited as Tae-suk (Jae Hee) papers neighborhood doors with advertising flyers. He’s not interested in making money. If the flyer remains posted, he breaks into and enters the empty house -- an uninvited house sitter of sorts who might do the owner’s laundry or mist a few plants before settling down for the night.

Tension rises when the drifter discovers that he’s not in one home alone. Battered and bruised by her wealthy husband, a woman (Lee Seung-yeon) surreptitiously watches him practice his golf swing in the backyard, fix a broken scale and crawl into bed caressing her nude photograph published in a coffee-table book. She’s an empty shell, not unlike the empty homes that Tae-suk fills. And she seems in need of rescue. The narrative grows more and more murky as she leaves with the knight-on-motorbike, willingly taking up the squatter’s lifestyle.

Mixed messages undermine the poetic lyricism of the pacing and images, and are particularly troubling because they deal with domestic violence. Stuck in an abusive relationship? Kim’s solution is hopeful but surprising and extremely simplistic. Instead of exploring the complex dynamics and deep wounds of the married couple, Kim contrives a miracle cure. Perhaps the battered wife just needs to change her attitude and joyously submit to a life of servitude.

This ambiguous, nonverbal Korean New Wave film seems to criticize those who have acquired material wealth at the expense of humanity and spirituality. They have lost their way within a consumer culture that commodifies people and prizes possessions. Closing with the suggestion that “It’s hard to tell if this world we live in is either reality or a dream,” Kim Ki-duk’s exercise may intrigue but ultimately proves more puzzling than profound.

Susan Tavernetti

Tavernetti is a San Francisco Bay Area journalist.

User images

About Editor

Chatelin Bruno

The Editor's blog

Bruno Chatelin Interviewed

Be sure to update your festival listing and feed your profile to enjoy the promotion to our network and audience of 350.000.     

Follow me on Facebook
Follow me on Twitter
Follow me on Instagram
Follow me on Youtube




View my profile
Send me a message