The 30th Busan International Film Festival (BIFF) concluded its celebratory 10-day run with record-breaking attendance figures. Yet, beneath the glamour of the star-studded red carpets, this milestone edition served as a crucial barometer for an industry in the midst of a profound transition. From frank discussions about the crisis facing Korean cinema to the festival’s own historic transformation, here are the five major takeaways from BIFF 2025.
1. The Korean Cinema Crisis Took Center Stage
The struggles of the Korean film industry were not a hidden secret at Busan; they were the headline topic. Industry leaders openly used the festival’s platform to diagnose the severe challenges and brainstorm solutions. According to the Korean Film Council, the domestic box office saw a staggering 33% year-on-year drop in the first half of 2025, with admissions falling by a similar margin. A lack of domestic blockbusters, fierce competition from streaming giants, and general consumer belt-tightening have converged to create what many are calling an existential threat to the nation’s once-vibrant theatrical market.
Opening film director Park Chan-wook bluntly told Variety, “It’s a crisis of the movie theaters… which in turn, is actually the crisis of cinema.”
During a panel, Jerry Ko of CJ ENM noted that the old blockbuster model no longer works, as fragmented marketing channels on social media make it difficult to build mass awareness. He also highlighted a stagnation in capital markets, with investors becoming increasingly hesitant. One proposed solution gaining traction is a renewed focus on international co-productions, with major Korean companies strengthening ties with markets like Indonesia and India to create new, globally appealing stories.
The decline in theatrical attendance was a major topic of discussion at the festival.
2. Netflix and Hollywood Agencies Solidified Their Asian Foothold
Netflix made its most significant push for Asian market dominance to date at BIFF. The streamer partnered with the festival to present Creative Asia 2025, a day-long summit featuring masterclasses from renowned directors like Guillermo del Toro and Yeon Sang-ho. Netflix also showcased a powerful nine-title slate, including highly anticipated films from Noah Baumbach and Kathryn Bigelow.
Meanwhile, Hollywood talent agency UTA unveiled an ambitious expansion strategy for Asia, with senior partner David Park emphasizing a desire to be “a true partner to multi-hyphenates all across the region.” The agency is prioritizing Korea and Japan, with plans to extend its reach into music and brand partnerships across Southeast Asia and India. The Motion Picture Association also deepened its engagement, reflecting a growing American interest in fostering Asian talent pipelines.
Director Guillermo del Toro was a featured speaker at the Netflix-partnered Creative Asia summit.
3. The Market Successfully Navigated Calendar Challenges
Due to the Korean Chuseok holiday, BIFF shifted its dates from its traditional October slot to September. This created a crowded international festival calendar, with BIFF now following closely after Toronto and overlapping with San Sebastián. The move particularly impacted the European Film Promotion delegation, which saw its presence at the Asian Contents & Film Market (ACFM) reduced.
Despite these logistical hurdles, the ACFM achieved record-breaking numbers, with a 13.5% increase in participation from 2024. The reduced European presence was offset by a significant strengthening of Asian regional participation. India, for instance, established its first-ever pavilion at the market, signaling a growing intra-continental collaboration. This evolution, as market chief Ellen Y.D. Kim noted, is transforming the ACFM from a simple transactional venue into a “dynamic crossroads” for the Asian content landscape.
4. A New Competition Section Marked a Historic Transformation
In its most dramatic change since its inception in 1996, BIFF launched its first-ever official competition section. Festival director Jung Hanseok merged the long-running New Currents and Kim Jiseok programs into a single, more impactful platform dedicated exclusively to Asian cinema. Fourteen films competed for the new Busan Award, with the grand prize winner being selected as the festival’s closing film—another break from tradition.
The move was designed to elevate the festival’s influence. “I came to realize that our two representative sections… had reached their limits,” Jung explained. The high-profile jury, chaired by “The Chaser” director Na Hong-jin and featuring stars like Tony Leung Ka-fai and Han Hyo-joo, brought significant prestige to the new format.
5. Star Power Returned in Full Force, Driving Record Attendance
BIFF 2025 was a spectacular success in terms of star power and audience engagement, achieving a record attendance of 238,697. The festival attracted an unparalleled roster of international and Korean talent, including Lisa of Blackpink, Michael Mann, Juliette Binoche, and Lee Byung-hun, who hosted the opening ceremony.
The new competition section delivered a memorable finish, with Zhang Lu’s “Gloaming in Luomu” winning Best Film and Taiwanese superstar Shu Qi winning Best Director for her debut, “Girl.” Masterclasses with directors like Michael Mann and Kogonada drew capacity crowds, and the Actors’ House program was immensely popular. This robust programming and incredible lineup of stars reaffirmed BIFF’s position as a vital launchpad for Asian cinema, even as it navigates a challenging and uncertain future.
The festival’s red carpet buzzed with an unprecedented lineup of international and Korean stars.
