The Status of the Mise-en-scène Short Film Festival: A Retrospective

The Mise-en-scène Short Film Festival, once a cornerstone for discovering emerging South Korean directorial talent, has been on an indefinite hiatus since its 19th edition in 2020. While the festival historically served as a critical platform for filmmakers to debut short-form works at venues such as CGV Yongsan I-Park Mall, no official announcements regarding a 22nd edition have been made by the organizing committee or the Mise-en-scène Short Film Festival association.

What was the Mise-en-scène Short Film Festival?

Founded in 2002, the festival was established to promote the diversity of Korean cinema through the lens of short films. It was famously categorized by genre—such as “City of Sadness” (social drama), “A Lonely Four-Legged Beast” (comedy), and “The King of Love” (melodrama)—a system designed to highlight the technical and narrative mastery required to excel in short-form storytelling. According to the [Korean Film Council (KOFIC)](https://www.koreanfilm.or.kr/), the festival was instrumental in launching the careers of notable directors including Bong Joon-ho, who served on its executive committee, and many others who transitioned into commercial feature film production.

Why did the festival enter an indefinite hiatus?

The festival’s operations were significantly impacted by the global COVID-19 pandemic, which forced a transition to online screenings and limited offline events during its 19th iteration. Following the 2020 event, the festival organizers announced an indefinite suspension of activities. While industry observers initially hoped for a return to physical venues like the CGV Yongsan complex, the lack of corporate sponsorship and shifting trends in short-form content distribution—driven by the rise of global streaming platforms—have made the revival of independent, genre-specific short film festivals increasingly difficult.

How does this impact emerging filmmakers?

The absence of the Mise-en-scène Short Film Festival leaves a significant void in the Korean film festival circuit. Previously, the festival acted as a primary bridge between independent creators and major distributors. Without this specific venue, emerging directors are increasingly reliant on alternative platforms such as the [Busan International Film Festival (BIFF)](https://www.biff.kr/) and the [Jeonju International Film Festival](https://www.jeonjufest.kr/), both of which maintain robust short film competition sections.

Comparison of Short Film Platforms

| Platform | Focus | Current Status |
| :— | :— | :— |
| Mise-en-scène Short Film Festival | Genre-specific competition | Indefinite hiatus |
| Busan International Film Festival | Wide-ranging international/local | Active (Annual) |
| Jeonju International Film Festival | Independent/Experimental | Active (Annual) |

What is the future of short-form cinema in Korea?

The landscape for short films in Korea is currently transitioning from traditional festival-based discovery to digital-first consumption. According to [KOFIC data](https://www.koreanfilm.or.kr/), the direct-to-consumer model via YouTube and proprietary streaming services has overtaken the festival circuit as the primary method for short film exposure. While the Mise-en-scène Short Film Festival remains a legacy brand in the industry, its model of high-touch, venue-based curation faces ongoing challenges in an era where audiences prioritize accessibility over centralized festival screenings. As of late 2023 and early 2024, there is no verified evidence of planning for a 22nd edition.