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This year’s SIPFF created special event program called “Director Gyu-dong Min’s Master Class.” Starting from Memento Mori, one of the most beloved Korean queer movie in history, Director Min has constantly created the films with queer aspects and made the main flow of the Korean queer films. In this year’s SIPFF, 5 of Director Min’s films will be screened, his interview book will be published, and filmmaking lectures will be opened as part of his master class. 

In Director Min’s Master Class, audiences can watch 5 of his great works: In My End and My Beginning (2013), All For Love (2005), Antique (2008), Memento Mori (1999), and Free to Fly (1997). Director Min made his debut with Memento Mori, which he co-directed with Director Tae-yong Kim, and won the Best New Director at the 36th Baeksang Arts Award. The film has a significant meaning as it is the first Korean commercial movie that seriously dealt with the topic of lesbian. It is also very significant in Korean film history as it formed a great size of fanbase; they voluntarily organized fan-community, and promoted the re-release of the film and the DVD. After causing a sensation for having a queer code in All For Love, Director Min took charge of script writing, directing and music directing in creating Antique, one of the most crucial films in Korean queer film history. The film has been loved by many audiences by incorporating the queer code which is even more fierce than its original work as well as the participation of popular actors, including Ji-hoon Joo, Jae-wook Kim, A-in Yoo, and Ji-ho Choi, etc. Additionally, My End and My Beginning, one segment of the movie, Five Senses of Eros, and his short film Free to Fly will also be available for the audiences. 

As such, Director Gyu-dong Min’s Master Class will provide opportunities for understanding and interpreting his artworks in more profound ways as well as offering people the rare chance of listening to the behind story of his filmmaking process. Furthermore, this master class will pinpoint the crucial implication in the course of Korean queer films, and offer great chance of imagining the future of Korean queer films.