▲ Ha Hyo-seon, Director of Cineart Rhizome

In a previous article, The Campus Journal looked into the crisis in local cultural diversity brought by the struggles of domestic indie and art films. "Cineart Rhizome," the only remaining indie and art cinema in Gyeongsangnam-do, plays an essential role in maintaining the diversity of the local film culture. However, recent reports of financial difficulties have raised concerns among local cinephiles. In light of this, The Campus Journal conducted an in-depth interview with the director of Cineart Rhizome to explore the real-world challenges and issues of managing an indie and art cinema in the Gyeongsangnam-do region, along with insights on the future.

Q. Hello, could you please introduce yourself?

Ha: Hello, my name is Ha Hyo-seon, and I manage Cineart Rhizome. Besides running the cinema, I also serve as the Vice President of the Korea Arthouse Association, which connects 16 art cinema venues across the country.

Q. What is the age range of the typical audience that visits Cineart Rhizome?

Ha: We welcome cinephiles from a broad range of ages, from their 20s to their 70s. Directors are often amazed by the insightful questions and sharp observations that audiences bring during guest visits (GVs).

Q. In your opinion, why are indie and art cinemas necessary?

Ha: I believe watching indie films is essential to truly understand the film industry's dynamics. Art films are inherently artistic, experimental, and often reflect the unique voice of their creators. However, multiplex theaters prioritize profitability, which means many outstanding art films never make it to their screens. Film, in essence, holds public value in a beneficial light. Much like the amphitheaters of ancient Rome or the libraries of the medieval period, cinemas fulfill the need of those who seek authentic societal information. Indie and art films particularly reflect diverse social issues and realities, offering audiences a space for contemplation. Therefore, cinemas can serve as a venue where people watch films, satisfy their curiosity, and engage in dialogue with directors and actors.

Q. Recently, small theaters in Geoje and Jinju, like "Art Cinema" and "Indie Cine," closed their doors. Amidst this trend of small theaters shutting down, what efforts do you believe are necessary to revitalize film culture in the Gyeongsangnam-do region?

Ha: We can’t ignore the lack of support in Gyeongsangnam-do. Many assume Cineart Rhizome is funded by government grants, but we cover all operational costs ourselves, aside from a small rental subsidy. Currently, the budget allocated to the film industry across Changwon City stands at only around 70 to 80 million won. To put it into perspective, Gyeonggi-do Province allocates between 3.5 to 4 billion won for similar purposes. Adding to this, venues like Busan's "Busan Cinema Center" offer better facilities, leading to an outflow of our audience members. Operating a cinema requires paying film licensing fees, hosting director invitation events, and running various programs. However, due to financial constraints, it’s challenging to organize such events, posing a significant obstacle to fostering the region’s film culture. The local government is highly sensitive to the issue of young people leaving the area, yet shows little interest in promoting the art of film. After the Changwon Nomadic Film Festival in September received positive feedback, we expressed these concerns to the city officials. Now is the time for Gyeongsangnam-do to implement concrete solutions for revitalizing regional film culture.

Q. What role do you think regional film festivals, like the "Changwon International Democracy Film Festival," play?

Ha: I believe the "Changwon International Democracy Film Festival" goes beyond mere film screenings, playing a vital role in establishing regional identity and enhancing cultural diversity. Many outsiders think of "Masan" as the city of the March 15th Movement and the "city of democratization." This is the very image that the film festival, with its focus on "democratization," seeks to capture. Every year, the festival organizes major sections under this broad theme and selects a country to feature its films, creating opportunities for interaction with directors.

Director Ha emphasized, “We’ve entered a global era of cultural competition. Various cultural activities are crucial to forming personal identity, so it’s important to stay connected to all forms of arts and culture,” concluding the interview. To preserve and develop Gyeongsangnam-do’s regional film culture, ongoing support and attention from the local community and students at CWNU are essential. Such efforts will expand the cultural diversity of Gyeongsangnam-do, contributing to a richer cultural environment in the region.

By Kim Min-seong, reporter  20221240@gs.cwnu.ac.kr

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