BIFF awards Ryu Seong-hie first-ever Camellia Award for contribution to women in film

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BIFF awards Ryu Seong-hie first-ever Camellia Award for contribution to women in film

Published: 08 Oct. 2024, 15:36

KIM JI-YE
kim.jiye@joongang.co.kr

Production designer Ryu Seong-hie, right, attends her special talk session, titled “The Cinematic Life of Ryu Seong-hie: Winner of the 1st Camellia Award,” held at the Cinematheque venue at the Busan Cinema Center in Haeundae District on Saturday evening. [BIFF]

BUSAN — In a male-dominated industry, production designer Ryu Seong-hie has not only carved out her own space but has also paved the way for fellow female production designers, proving that women can excel in crafting artistic designs for genre films. In recognition of her significant contributions, the 29th Busan International Film Festival (BIFF) honored Ryu as the inaugural recipient of the Camellia Award, celebrating filmmakers and industry professionals who have played a vital role in elevating the status of women in the field.

“The establishment of this award for female filmmakers at this moment signifies not only support for women but also a new opportunity for the entire film industry to take a fresh leap forward and embrace new perspectives, and I feel truly honored to receive it,” Ryu said during a talk session, titled “The Cinematic Life of Ryu Seong-hie: Winner of the 1st Camellia Award,” held at the Cinematheque venue at the Busan Cinema Center in Haeundae District on Saturday evening.

Ryu, born in 1968, is one of the most renowned production designers in Korea, winning the Cannes Film Fesitval's Vulcan Award of the Technical Artist in 2016. She was behind the set and art designs of numerous prominent works by world-renowned auteurs like Park Chan-wook and Bong Joon-ho, participating in films including “Memories of Murder” (2003), “Oldboy” (2003), “The Host” (2006), “Thirst” (2009), “The Handmaiden” (2016), “Decision to Leave” (2022) and many more.

Though she stands as a leading figure in her field, the designer's journey began with a rocky beginning, as the industry was largely male-dominated, and genre films, which she was passionate about, were considered a male domain.

Still from film ″Decision To Leave″ (2022) [CJ ENM]

“When I started my career in film, I remember that there was only one female art director,” she said, recalling her memories of the scene at the time. “No matter how much I expressed my desire to work on genre films and sought out opportunities by giving out my portfolio, they never came my way. I often received responses suggesting that if they ever had a project for a melodrama or romance film, they would reach out to me, which left me feeling quite discouraged."

She waited a year and a half for the right project to launch her career before finally taking the leap, according to Ryu.

“There was nothing wrong with starting with a melodrama or romance film, but I feared that once I started doing those projects, I would be continuously seen as someone [limited to those genres],” she said. “Because it was easy for a stereotype to remain fixed at the time.”

She added, “Also, it was a time when even if a woman succeeded with a project, it was often seen as a coincidence. So, it was inevitable to have to prove oneself repeatedly during that period.”

Production designer Ryu Seong-hie, right speaks during a special talk session, titled “The Cinematic Life of Ryu Seong-hie: Winner of the 1st Camellia Award,” held at the Cinematheque venue at the Busan Cinema Center in Haeundae District on Saturday evening. From left, moderator Beck Un-a and Ryu [BIFF]

A special talk session, titled “The Cinematic Life of Ryu Seong-hie: Winner of the 1st Camellia Award,” held at the Cinematheque venue at the Busan Cinema Center in Haeundae District on Saturday evening. [BIFF]

Such perpetual necessity for her to continue proving herself made her vow that she would only work on genre films for the next 10 years. She kept her promise and stuck to genre films ever since her first work, "Flower Island" in 2001, until 2010, when she finally returned to romance with "Late Autumn."

When asked about the first memory that sparked her interest in film production design, Ryu cited David Lynch’s 1980 film "The Elephant Man." She said it was the first film that changed her perception of cinema as an art form.

“It was my first time to take an interest in the intentions of the director and the people involved in a film,” she said. “It made me realize what kind of director creates these films, why the people involved are so passionate about their work and how films communicate with audiences and touch their soul."

During the talk session, a special surprise guest, screenwriter Chung Seo-kyung, came to congratulate Ryu and to share her stories and experiences with the designer. Chung and Ryu have worked together on several projects, including films “I’m a Cyborg, But That’s OK” (2006), “The Handmaiden,” “Decision to Leave” and tvN’s drama series “Little Women.”

Screenwriter Chung Seo-kyung, right, speaks during a special talk session, titled “The Cinematic Life of Ryu Seong-hie: Winner of the 1st Camellia Award,” held at the Cinematheque venue at the Busan Cinema Center in Haeundae District on Saturday evening. From left, production desginer Ryu Seong-hie and Chung [BIFF]

“My first collaboration with Ryu was on the film 'I’m a Cyborg, But That’s OK,'” Chung said, pointing out that the bright set of the film astonished her. “When I arrived on set, I was completely taken aback because it was so different from what I had imagined. Since the story revolves around two characters in a mental hospital, I expected a setting that would reflect their inner desolation and isolation.”

Chung added, “I was amazed to see how art could create something so new, seeing that it could produce more than just what was in the script. This experience also made me revisit my own screenplay.”

The Camellia Award was selected by BIFF in collaboration with designer brand Chanel, which links with a phrase Ryu repeats constantly, she said.

“One phrase I often reflect on is by Gabrielle Coco Chanel, who said, ‘Don't spend time beating on a wall hoping to transform it into a door,’” Ryu said, which is a phrase telling people not to be afraid to move on and that the time and energy that one has invested will become worthwhile.

Still from film ″The Handmaiden″ (2016) [CJ ENM]

The phrase also serves as a piece of advice from the production designer to those facing obstacles.

“I humbly suggest that instead of focusing all your energy on breaking down barriers, I believe it would be more meaningful to put more focus on how to transform those barriers into opportunities or doors for yourself,” she said.

Despite her experiences, she says she is still growing.

“I’ve always seen myself as someone who moves forward at a slower pace, rather than being naturally gifted or exceptionally talented. So, I set long-term goals and steadily work toward them, trusting that one day I’ll reach a point of excellence," she said.

Production designer Ryu Seong-hie speaks during a special talk session, titled “The Cinematic Life of Ryu Seong-hie: Winner of the 1st Camellia Award,” held at the Cinematheque venue at the Busan Cinema Center in Haeundae District on Saturday evening. [BIFF]

“I believe that every one of us, including me, is in the middle of that process. So, for me, I’m taking one step at a time. I also think I still have a very long way to go, but I will continue moving forward wholeheartedly.”

The 29th BIFF will run until Friday, screening 278 films during the festival period.

BY KIM JI-YE [kim.jiye@joongang.co.kr]