The 27th JEONJU International Film Festival (JEONJU IFF, Festival Co-Directors MIN Sungwook and JUNG Junho) unveiled the Cinephile JEONJU selections.

Cinephile JEONJU is a section dedicated to audiences with a keen interest in film history. This year's program offers a diverse selection of cinephiles, including restored films and documentaries about cinema and its history.

For the 27th edition, Sung MOON, Programmer of JEONJU IFF, anticipates a landmark year, stating, “This year's program is, I believe, the most diverse in the section's history.”

△ From the left: The Red Spectacles, Nadja

Highlighting the lineup are two genre gems: OSHII Mamoru’s long-overlooked live-action debut The Red Spectacles (1987) and Michael ALMEREYDA’s Nadja (1994), a stylish, dreamlike vampire tale executive produced by David LYNCH.

△ From the left: Suit Yourself or Shoot Yourself!! VI: The Hero, Don’t Look Now

The section also unveils rare treasures from established masters. KUROSAWA Kiyoshi’s Suit Yourself or Shoot Yourself!! VI: The Hero (1996) offers a rare look at the director’s visionary roots from the peak of the VHS era. Closing this genre-defying journey is Nicolas ROEG’s Don’t Look Now (1973), the haunting masterpiece that paved the way for today’s ‘elevated horror’ and A24-style psychological thrillers.

△ From the left: Angela's diaries - Two Filmmakers. Chapter Three, Megadoc, Extraordinary Stories

The section takes a radical turn with experimental masters Angela Ricci LUCCHI and Yervant GIANIKIAN. Their latest cinematic offering, Angela's diaries - Two Filmmakers. Chapter Three (2025), the final installment of the trilogy previously presented at the JEONJU IFF, concludes a visionary trilogy that transforms Ricci LUCCHI’s private diaries into a powerful cinematic tribute.

Megadoc (2025) offers an unfiltered look at the turbulent creation of Francis Ford COPPOLA’s Megalopolis: A Fable (2024). Through Mike FIGGIS’s visceral footage and candid testimonies, the film reveals that even for a legendary visionary, the creative process remains a haunting, unsolved mystery.

Extraordinary Stories (2008) returns to Korea in a newly restored digital format, sixteen years after its debut at the JEONJU International Film Festival. Directed by Mariano LLINÁS, this ambitious, low-budget epic, crafted in close collaboration with friends, unfolds as a sweeping tale of travel, adventure, and an enduring passion for cinema.

△ From the left: All You Need to Make a Movie Is a Gun, BENITA

Two documentaries illuminate the present through the lens of the past. All You Need to Make a Movie Is a Gun (Santiago SEIN, 2026) begins with the discovery of film reels at an Argentine university, unfolding a story that spans from the 1960s to today. BENITA (2025), by Alan BERLINER, tells the tragic story of a filmmaker consumed by inner darkness. Drawing on the materials she left behind, the film ultimately becomes an act of mourning.

This year’s guest cinephile is renowned Spanish director Pere PORTABELLA. Marking his centenary, the festival revisits key works from a career that has come to embody the spirit of cinematic innovation, presenting 5 films, including 3 features and 2 shorts. This year’s Guest Cinephile program is presented as part of Acción Portabella, a special initiative co-organized by the Spanish Ministry of Culture and the Government of Catalonia to mark his centenary. In addition, a lecture by artist and film researcher Adrián ONCO, a longtime collaborator of the director for over a decade, is scheduled.

△ From the left: The Delinquents, Miró Other, Vampir-Cuadecuc

Produced by Pere PORTABELLA, Carlos SAURA’s debut feature The Delinquents is presented in a newly restored, uncut version by the Filmoteca Española, reinstating footage once censored under the Franco regime.

Following Miró Other, which documents the creation and destruction of public murals, the program presents the experimental Vampir-Cuadecuc, a work that disrupts the conventions of commercial filmmaking.

△ From the left: The Dinner, Removal

The section also includes The Dinner, which evokes the violence of dictatorship in the language of the present, and Removal, which conveys a sense of loss through absence and silence as it empties the former home of Federico GARCÍA LORCA.

Furthermore, Harvard Film Archive Director Haden GUEST returns to Cinephile JEONJU this year. The Harvard Film Archive and the JEONJU IFF will continue their collaboration on 16mm and 35mm film screenings for a fourth consecutive year.

Highlighting the program’s scale and depth, MOON describes this year’s Cinephile JEONJU as “vibrant and expansive as film history itself,” further noting that “a deep engagement with the past has much to tell us about the present.”

As a final tribute and farewell to director Béla TARR, Sátántangó (1994), first introduced to Korea at the inaugural JEONJU IFF, will be specially screened.

This year’s Cinephile JEONJU section will also include a special program, which will be announced at a later date.

Cinephile JEONJU section will be screened at the 27th JEONJU International Film Festival, which takes place over 10 days from April 29 (Wed) to May 8 (Fri), 2026, across Jeonju City.

* Sátántangó (Béla TARR, 1994, Fiction) will be presented as a special screening.
※ The films in this section are subject to change and may be updated.