Hur Jin-ho Thanks Singapore Festival for Protecting Freedom of Expression as ‘The Assassin(s)’ Opens, SGIFF Chair Boo Junfeng Says: ‘We Refuse to Show Anything That Has Been Censored’

Hur Jin-ho Thanks Singapore Festival for Protecting Freedom of Expression as ‘The Assassin(s)’ Opens, SGIFF Chair Boo Junfeng Says: ‘We Refuse to Show Anything That Has Been Censored’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 21, 2026 4:29pm PT Hur Jin-ho Thanks Singapore Festival for Protecting Freedom of Expression as ‘The Assassin(s)’ Opens, SGIFF Chair Boo Junfeng Says: ‘We Refuse to Show Anything That Has Been Censored’ By Naman Ramachandran Plus Icon Naman Ramachandran Latest Oscar Entries From Thailand, Nepal Head to Tokyo Filmex Competition; Lee Kang-sheng Joins Jury 14 hours ago ‘Pirates of the Caribbean’ Secret Cinema Immersive Stage Show Casts George Maguire as Jack Sparrow, Extends London Run 17 hours ago Thai Pop Star Jeff Satur Signs With Universal Music Southeast Asia, Sets 2027 Album and World Tour 17 hours ago See All Add us as a Google Preferred Source Comments South Korean director Hur Jin-ho thanked the Singapore International Film Festival (SGIFF) for defending freedom of expression as his political thriller “ The Assassin(s) ” opened the festival’s 37th edition on Wednesday, two weeks after the Korea’s conservative opposition asked SGIFF to pull it. “I am truly grateful to the film festival for protecting artistic freedom and the freedom of expression in cinema, and I believe this decision by the festival will give great courage to those of us who made this film, including myself, the staff, and the actors,” Hur said as the end credits rolled.

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6, the People Power Party (PPP) wrote to SGIFF executive director Jeremy Chua on behalf of all 109 of its lawmakers, asking the festival to reverse the selection. The festival kept the film, and in an Oct.

7 statement said it had been chosen “through SGIFF’s independent curatorial process for its artistic merit and contribution to contemporary Asian cinema.” Festival chair Boo Junfeng , the Singaporean director of Cannes selections “Sandcastle” and “Apprentice,” told the opening-night audience that the team had been flooded with messages from a group in South Korea pressing it to cancel the screening, and had also received many notes of support. “SGIFF has carefully considered the various arguments put forth, and we see the film as an artistic interpretation of historical events, and we respect the creative vision of the makers behind it.

Therefore, we stand by our decision to have the film as our opening,” Boo said. He also thanked Hur and his team “for making their way here to join us despite the pressures back at home.” “We have a no-cut policy.

We refuse to show anything that has been censored, because we believe films should be seen as their makers had intended, and nothing should alter their vision,” Boo said. Boo called the direct link between a filmmaker’s vision and a paying audience a legacy that the festival’s founders fought to secure and that the current team means to protect.

“It is not always easy to remain steadfast in the face of pressure, but I suppose choosing the path of least resistance isn’t quite in our DNA,” he added. “The Assassin(s),” which opened in Korea on Sept.

15, 1974, when first lady Yuk Young-soo, wife of then-President Park Chung-hee, was shot dead at the National Theater during a Liberation Day ceremony.

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