Overview
The Jeonju International Film Festival (JEONJU IFF) is South Korea's largest showcase of independent and arthouse cinema. The 27th edition runs April 29 to May 8, 2026, across 21 screens at five venues in Jeonju, screening 237 films from 54 countries with 78 world premieres. The festival is co-directed by Min Sungwook and Jung Junho, with the slogan "Beyond the Frame" for 2026.
JEONJU IFF deliberately occupies a different space from the more commercially oriented Busan International Film Festival. The festival champions formal innovation, artistic risk, and independent filmmaking, with a particular commitment to digital cinema experimentation that dates back to its founding in 2000. The International Competition is limited to first or second feature films from emerging directors, making it one of the most accessible major Asian festivals for new filmmakers.
The 27th edition opens with the Korean premiere of Kent Jones' Late Fame and closes with the world premiere of Kim Hyun-ji's documentary The Longest Night: Namtaeryeong. The International Competition selected 10 titles from 421 submissions across 70 countries, all making their Asian premieres. The Korean Competition also fielded 10 selections, four of them documentaries. The festival presented a special achievement award to the late actor Ahn Sung-ki, who died in January 2026 after a six-decade career spanning over 130 films.
Submission Details
JEONJU IFF accepts open submissions for its International Competition and Korean Competition sections. International submissions can be made through FilmFreeway or FestHome. Korean film submissions are handled through the festival's own entry site.
International Competition deadlines for the 27th JEONJU IFF (2026):
- Submissions opened: November 26, 2025
- Submission deadline: January 19, 2026
- Notification date: March 31, 2026
- Submission fee: $30 USD per film
Korean film deadlines for the 27th JEONJU IFF (2026):
- Submissions opened: November 5, 2025
- Short film deadline: January 5, 2026, 17:00 KST
- Feature film deadline: January 19, 2026, 17:00 KST
- Notification: March 2026
International Competition eligibility requirements:
- Must be the director's first or second feature-length film (all co-directors must meet this requirement, no exceptions)
- Running time: longer than 40 minutes (including credits)
- Date of completion: after January 2025
- Premiere status: at least Asian Premiere (if the film is from an Asian country, it must not have screened in another Asian country outside the home country)
- Films released on SVOD, VOD, DVD, or Blu-ray are not eligible for any official section
- Graduation screenings and private screenings are exempt from the premiere requirement
- English subtitles must be embedded on the screener if the original language is non-English
- Submission is completed only when the online screening link is uploaded with the entry form
Korean film eligibility requirements:
- Films completed after January 2025
- Korean Premiere or higher premiere status required
- Korean Competition: limited to first or second feature films
- Korean Competition for Shorts, Non-Competition, and Local Cinema: no limit on number of directorial works
- Local Cinema: for directors/producers based in Jeonbuk State, students at Jeonbuk universities, or films with 50%+ shooting locations in Jeonbuk
- All genres accepted (documentary, fiction, experimental, animation)
For the full rules and regulations, see the official submission PDF. For inquiries, contact submission@jeonjufest.kr.
Key Sections
Competitive sections:
- International Competition - 10 first or second features from emerging filmmakers, all Asian premieres or higher, competing for the Grand Prize
- Korean Competition - 10 first or second features from Korean emerging directors, revealing present Korean society
- Korean Competition for Shorts - short films with aesthetic challenges
Non-competitive sections:
- JEONJU Cinema Project (JCP) - feature films financed and produced by JEONJU IFF (Note: the JCP Next Edition 2026 will not take place due to structural adjustments, but Project Development Support and Post-Production Support programs continue)
- Frontline - unique and imaginative films raising questions and innovative arguments
- World Cinema - the most significant fiction and documentary films of the year
- Masters - films from influential and celebrated directors
- Korean Cinema - trends in Korean filmmaking through new films or films achieving unique perfection
- Expanded Cinema - experimental films with innovative and original cinema language
- Cinema Fest - films offering both popular and artistic appeal across generations
- Midnight Cinema - genre films with radical imagination and free-spirited expression
- Cinephile JEONJU - restored films and films exploring the history of cinema
- Special Focus - retrospectives and special programs (2026: 1960s-70s New York underground cinema, Hong Kong independent cinema, tribute to Ahn Sung-ki, guest cinephile Pere Portabella)
- J Special: Programmer of the Year - section designed by guest programmers (2026: Byun Young-joo)
What Filmmakers Should Know
For International Filmmakers (First or Second Feature)
The International Competition is the primary entry point for non-Korean filmmakers. The restriction to first or second features means you are competing against peers at a similar career stage, not established directors. The 27th edition received 421 submissions from 70 countries, with the top five submitting countries being the United States (44 films, 10.5%), China (36, 8.6%), Japan (28, 6.7%), Canada (22, 5.2%), and Germany (19, 4.5%). Submissions from North America increased significantly in 2026.
Only 10 films are selected for the International Competition, making it highly selective. All selected films must be at least Asian premieres. The $30 submission fee is modest compared to major European festivals. Films are notified by March 31, giving selected filmmakers approximately one month to prepare for attendance.
For Korean Filmmakers
The Korean Competition is the most significant competitive platform for emerging Korean directors. The 26th edition received 165 Korean Competition submissions, 1,510 Korean Competition for Shorts submissions, 46 Local Cinema submissions, and 114 non-competition feature submissions, totaling 1,835 Korean film submissions. The 27th edition set a new overall record with 2,497 total submissions.
Korean filmmakers can submit through the festival's entry site rather than FilmFreeway. The Local Cinema section provides a dedicated platform for Jeonbuk-based filmmakers.
Industry Programs and the JEONJU Project
JEONJU Project is the festival's flagship industry program, supporting film projects across the entire filmmaking process from development to production and distribution. The 18th JEONJU Project was held over three days, May 3 to 5, 2026, and presented 18 awards. Programs include:
- JEONJU Lab - development grants for feature projects
- JEONJU Lab: Short - production support grants for short films
- Work-in-Progress - post-production support and distribution grants
- JICA Award - sponsored by the Jeonju IT and CT Industry Promotion Agency
The festival also supports overseas screenings of selected films at festivals including Vancouver, Hungarian Korean Film Festival, Singapore Korean Film Festival, and Berlin Korean Independent Film Festival.
Practical Considerations
Jeonju is approximately 190 kilometers south of Seoul, accessible by KTX train (about 2 hours). The city is known for its traditional hanok village architecture, cuisine (particularly bibimbap), and arts culture. The festival uses five venues across the city, including the Sori Arts Center of Jeollabuk-do and Jeonbuk National University Samsung Arts Center. Opening and closing ceremony tickets cost KRW 20,000 each. Some screenings, including the awards ceremony, are free.
The festival's smaller scale compared to Busan creates a more intimate atmosphere with closer contact between filmmakers and audiences. Korean audiences for independent cinema are highly engaged and knowledgeable. The Possible Cinemas program, which highlights filmmakers working with limited resources, has been folded into the regular lineup as a permanent section.
Awards / Accreditation
The 27th JEONJU IFF presented 37 awards total: 19 from the festival competition and 18 from the JEONJU Project.
International Competition:
- Grand Prize - top award (2026 winner: The Night Is Fading Away, dir. Ezequiel Salinas and Ramiro Sonzini, Argentina)
- Best Film Prize (sponsored by NH Nonghyup) - (2026 winner: Chronovisor, dir. Jack Auen and Kevin Walker, United States)
- Special Jury Prize - (2026 winner: The Visitor, dir. Vytautas Katkus, Lithuania/Norway/Sweden)
- Special Mention - (2026 winner: Michiyuki: Voices of Time, dir. Nakao Hiromichi, Japan)
Korean Competition:
- Grand Prize (sponsored by FUJIFILM KOREA) - (2026 winner: The Summer That Slipped Away, dir. Lee Seonyeon)
- Special Jury Prize (sponsored by MALGNSOFT)
- NONGSHIM SHIN RAMYUN Award
- Best Actor Prize
- CGV Award
Korean Competition for Shorts:
- Grand Prize (sponsored by FUJIFILM KOREA)
- Best Director Prize (sponsored by Kyobo Life Insurance)
- Special Jury Prize (sponsored by Presbyterian Medical Center)
- Aero K Award
Additional awards:
- NETPAC Award - for best Asian film
- Cineteca Nacional Mexico Award
- J Vision Award (sponsored by Gang Dong O Cake Co.)
- FUJIFILM KOREA Award - for documentary
- Documentary Award (sponsored by Jin Motors)
- FIPRESCI Prize - from international film critics
The awards ceremony is held on May 5 at Jeonbuk National University Samsung Arts Center. Audience awards are also presented.
Festival History
JEONJU IFF was founded in 2000 by a group of Korean film professionals and cultural figures who wanted a festival dedicated to independent and alternative cinema, complementing the more commercially oriented Busan festival. The festival has maintained this identity consistently over 27 editions.
The JEONJU Cinema Project (formerly the Jeonju Digital Project) has been the festival's signature commissioning initiative, financing and producing feature films that premiere at the festival. For 2026, the JCP Next Edition was paused as part of a mid- to long-term structural transition, but Project Development Support and Post-Production Support programs continue with calls announced in December.
The 26th edition (2025) screened 224 films from 57 countries, including 98 Korean films (42 features, 56 shorts). The 27th edition (2026) expanded to 237 films from 54 countries with 78 world premieres, up 13 titles from the previous year. The festival has set submission records for two consecutive years, reaching 2,497 total submissions in 2026.
The 2026 edition pays tribute to the late actor Ahn Sung-ki with a showcase of seven lesser-known works from his career. Special programs also include a retrospective on 1960s and 1970s New York underground filmmakers (Robert Downey Sr., Jack Smith, Carolee Schneemann), a Hong Kong independent cinema showcase, and a guest cinephile program built around Spanish auteur Pere Portabella. Director Byun Young-joo (The Murmuring, Helpless) was named Programmer of the Year.
Past Winners
2026 (27th edition) - International Competition:
- Grand Prize ($13,800 / KRW 20m): The Night Is Fading Away, dir. Ezequiel Salinas and Ramiro Sonzini (Argentina) - unanimous jury decision. The black-and-white debut feature about a projectionist who becomes a night watchman also won the Special Jury Prize at FIC Valdivia, the City of Lisbon Award at Doclisboa, and Best Director at Valladolid International Film Week. No US distribution announced as of August 2026.
- Best Film Prize (sponsored by NH Nonghyup): Chronovisor, dir. Jack Auen and Kevin Walker (United States) - debut feature from Baltimore-based directing duo.
- Special Jury Prize: The Visitor, dir. Vytautas Katkus (Lithuania/Norway/Sweden).
- Special Mention: Michiyuki: Voices of Time, dir. Nakao Hiromichi (Japan).
2026 (27th edition) - Korean Competition:
- Grand Prize (sponsored by FUJIFILM KOREA, KRW 15m): The Summer That Slipped Away, dir. Lee Seonyeon. The film was released theatrically in Korea on February 4, 2026, distributed by Indiestory.
2025 (26th edition) - International Competition:
- Grand Prize: Mad Bills to Pay (or Destiny, dile que no soy malo), dir. Joel Alfonso Vargas (United States/Dominican Republic). The film had its world premiere at the 2025 Sundance Film Festival where it won the NEXT Special Jury Award for Ensemble Cast, then screened at the 75th Berlin International Film Festival (nominated for the Perspectives Award for best first feature). Oscilloscope Laboratories acquired worldwide rights in September 2025 and released the film theatrically on April 17, 2026, opening at Film Forum in New York. Box office reached $67,909 in limited release.
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Notable Alumni Films and Where They Ended Up
- The First Lap (dir. Kim Dae-hwan, 2017) - Produced as the 10th Jeonju Cinema Project. World premiered at Jeonju, then won Best Emerging Director at the 70th Locarno Film Festival and the Silver Astor for Best Screenplay at the 32nd Mar del Plata International Film Festival. Distributed in Korea by Indieplug with international sales handled by M-Line Distribution. Theatrical run: 47 screens, 7,602 admissions, $41,527 gross. The only Asian film to win a competitive award at Mar del Plata that year.
- Dolphin (dir. Bae Du-ri, 2023) - World premiered at the 24th Jeonju IFF in the Korean Cinema section. International sales picked up by Finecut ahead of the festival. Distributed theatrically in Korea by Mano Entertainment on March 13, 2024. Also screened at Vancouver Asian Film Festival, Seoul Independent Film Festival, and the Hungarian Korean Film Festival. Stars Kwon Yu-ri (Girls' Generation member) in her first solo lead role.
- Samsara (dir. Lois Patiño, 2023) - Supported through the Jeonju Cinema Project. Premiered at the 2023 Berlinale where it won the Special Jury Prize in the Encounters section. The Galician director's immersive meditation on reincarnation became one of the most discussed JCP titles, dividing critics while drawing acclaim for its interactive bardo sequence.
- Afterwater (dir. Dane Komljen, 2022) - Jeonju Cinema Project production. Screened in the Berlinale Forum strand in 2022, continuing JCP's track record of placing films at top European festivals.
- Isadora's Children (dir. Damien Manivel, 2019) - Jeonju Cinema Project production. Won Best Director in the Concorso Cineasti del presente section at Locarno.
Submission Tips Specific to This Festival
JEONJU IFF's curatorial identity centers on formal innovation and independent filmmaking. Programmers favor films that take artistic risks rather than conventional narrative features. The International Competition restricts entries to first or second features, so your film will be judged against peers at the same career stage, not against established directors.
The festival has a documented preference for digital cinema experimentation, dating to its founding mission. Films that engage with the medium of cinema itself, whether through format, structure, or subject matter, tend to resonate with programmers. The 2026 Grand Prize winner The Night Is Fading Away is a black-and-white film about a projectionist, and the 2025 winner Mad Bills to Pay uses street-cast non-professional actors in a Bronx-set drama.
Korean-language films should submit through the festival's own entry site rather than FilmFreeway. The Local Cinema section provides a lower barrier for Jeonbuk-based filmmakers. For international filmmakers, the $30 fee is among the lowest for a major Asian festival, but the Asian premiere requirement means you must plan your festival circuit to preserve that premiere status. Films already released on SVOD, VOD, DVD, or Blu-ray are ineligible for any official section.
Industry Reputation Notes
JEONJU IFF is widely regarded as South Korea's leading festival for independent and art house cinema, occupying a different space from the larger, more industry-focused Busan International Film Festival. Where Busan functions as an industry hub with its Asian Project Market and robust acquisition activity, Jeonju is known primarily as a cinephile festival with strong critical discourse and a committed local audience.
The Jeonju Cinema Project has become a recognized quality label among international programmers. Screen Daily noted that JCP titles regularly screen at Berlinale, Locarno, and other top-tier European festivals. The festival is not a major acquisitions market in the way Busan or Hong Kong Filmart are, but it functions effectively as a launching pad for first and second features into the international festival circuit. Sales agents including Finecut and M-Line Distribution actively track Jeonju premieres for pickup.
Compared to Busan, Jeonju offers filmmakers more intimate audience interactions and closer contact with programmers. The trade-off is fewer industry attendees and less market infrastructure. For filmmakers seeking distribution deals, Busan remains the stronger venue. For filmmakers seeking critical attention and festival circuit momentum for a debut feature, Jeonju's International Competition is a strong alternative, particularly for formally adventurous work.
Watch
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See Also
Use the Festival ROI Calculator to weigh the $30 submission fee against potential returns from attending. For festival strategy and selecting the right Asian festivals for your film, read Film Festival Strategy. For understanding the Korean film industry and distribution landscape, see International Film Markets. For the other major Korean film festival, see Busan International Film Festival.
