Hong Sangsoo's 'Nowhere to Lay My Eyes' and the Global Sales Machine

The Art of Selling Cinema

There's something almost theatrical about the way Finecut closes international sales deals. It's not just about the numbers or the contracts — it's about how a film finds its soul in a different language, with new eyes. Recently, the company has made headlines for its successful sales of three festival titles ahead of Toronto, including Hong Sangsoo's Locarno prizewinner, "Nowhere to Lay My Eyes." This isn't just another transaction — it's a cultural moment.

"Hong Sangsoo's 35th feature is not just a milestone; it's a testament to a filmmaker who continues to reinvent his voice with each frame."

The film, which competed in the Concorso Internazionale at Locarno and took home three awards — Pardo for Best Direction, Best Performance, and the Ecumenical Jury Prize — is now on its way to audiences across the globe. From North America (Cinema Guild), the U.K. (Institute of Contemporary Arts), Spain (Atalante), China (Hugoeast), Austria (Filmgarten), and Taiwan (Cola Films), this isn't just a film tour — it's a cultural export with a purpose.

Where Stories Travel

The journey of "Nowhere to Lay My Eyes" is more than a simple sales pitch. It's the story of a woman who, after ten years apart, returns to her mother's home with her brother, only to spend two days with her mother's new family. It's the kind of narrative that transcends borders — deeply personal yet universally relatable.

As Finecut navigates international markets, it's clear they understand how to package films for a global audience without diluting their essence. The company's approach speaks volumes: every sale is an opportunity to tell the story of a film and its creator in a new light.

An Animated Revolution

But let's not overlook the other titles in Finecut's recent roster. "Long Long Night," a 3D animated feature by Youm Kyu Bock, is making waves even before it hits screens. The film adapts a bestselling Korean novel that has sold over 800,000 copies and earned a spot on the International Youth Library's 2021 White Ravens list.

The animation is already proving its worth — with Geek Pictures Inc. securing the Japanese rights ahead of Toronto's Centrepiece selection, it's clear there's an appetite for Korean storytelling that isn't bound by genre or medium.

"We were deeply moved by the beauty of the film and the way it captures the world of the original story," said Kosano Tamotsu, CEO of Geek Pictures Inc.

This isn't just about the animation; it's about the emotional resonance. The film tells the tale of a last rhino on Earth and a penguin — two unlikely companions — with a message that feels both timeless and urgent.

The Rise of Korean Female Voices

Then there's "Dora," the third feature from director July Jung. The film premiered in Cannes' Directors' Fortnight, and it's already making waves in Busan, where it's set to be part of the Gala presentation lineup.

Jung is a name that deserves attention — the first Korean female director to have three consecutive features selected for Cannes. "Dora" brings together rising Korean actress Kim Doyeon and Japanese actress Ando Sakura, known for her work in films like "Godzilla Minus One," "Monster," and the Palme d'Or winner "Shoplifters."

It's a film that speaks to the increasing global visibility of women in cinema — both as creators and stars. Finecut's ability to sell this film to Japan (Geek Pictures Inc.) and Taiwan (Light Year Images) shows how much these stories are in demand.

From Shorts to Features

The festival circuit continues to be a launching pad for international distribution, but not all success stories begin on the big screen. Miyahara's short film "Suck" was selected for the Clermont-Ferrand International Short Film Festival — and now it's preparing to make its feature debut with "Wash Away," a Japanese horror-thriller about a couple whose lakeside retreat turns sinister amid a resort's belief that its waters can cleanse the soul.

It's a bold step into genre filmmaking, and one that reflects the growing confidence of international filmmakers in telling complex stories. The film is set to premiere in Sitges Film Festival's Panorama section — another indicator of how the world is embracing new voices.

The Role of Sales Houses

Finecut's success is not just about securing deals; it's about recognizing and promoting films that speak to a global audience. In an industry increasingly defined by streaming and digital platforms, the role of sales houses like Finecut has become more critical than ever.

They are curators, storytellers, and cultural ambassadors. They understand that each film they promote is not just entertainment — it's a piece of art that must be introduced to the world with care, respect, and an understanding of context.

In the current landscape, where the boundaries between national cinema and global entertainment are constantly blurring, Finecut's recent deals offer a glimpse into the future. It's not just about selling films — it's about connecting cultures, emotions, and experiences across the world.