BUSAN -- Despite its political struggles, Busan International Film Festival strived to “return to the essentials” by spotlighting socially relevant Asian films in its main competition category New Currents this year.

“As everyone knows, this event has begun with great anxiety and worries,” said BIFF’s executive director and actress Kang Soo-youn at a press conference with the New Currents jurors Friday morning at Busan’s Dongseo University Centum Campus.

Earlier this year, many questioned whether the 21st edition of BIFF, running until Oct. 15, could take place at all with its numerous obstacles: It was subjected to an alleged political backlash for screening a controversial documentary against the government’s wishes in 2014, and local filmmakers announced they would boycott the festival until it guaranteed artistic freedom.

Amid the din, the organizers decided to “think back to what we were responsible for,” said Kang. “We realized our most important job is to support up-and-coming Asian directors, to represent this continent that is so culturally diverse.”

The New Currents category awards the two best feature films that are the first or second works by new Asian directors. This year’s 11 finalists largely explore the friction between tradition and modernity in Asia’s rapidly developing economy and the persistent and pervasive gender inequality. A grand prize of $30,000 is awarded to each winner.

“The middle ground is uninteresting,” said juror Bero Beyer, director of the International Film Festival Rotterdam, on his criteria for judging. “We’re looking for something that pushes the boundaries. ... Sometimes we need to be shaken slightly. Sometimes filmmakers show us things we do not want to see, and that is just as important as those we want to see.”

On the issue of artistic freedom that has been plaguing BIFF, Beyer said that “Rotterdam feels very connected to Busan.”

“We pride ourselves for being a platform for free speech, free visions ... and we feel BIFF is the same.”

Beyer referred to the community of international film festivals as “one big family.” “It’s important to keep these precious platforms open,” he said.

Head juror Souleymane Cisse is no stranger to restrictions in free speech, he said. The filmmaker from Mali, a budding democracy that suffered 23 years of military dictatorship, said many in his country are against the social criticism in his films.

His latest film “O Ka,” which screened at Cannes International Film Festival last year, focuses on the theme of justice.

“One problem in Mali is that directors are prone to self-censorship,” he said. “But the younger generation of Malian directors are more aggressive and sensitive in their critique. I look forward to their growth.”

The following eleven films, all world premieres, are competing in the New Currents category this year. The winners will be announced and awarded at BIFF's closing ceremony next Saturday.

Indian director Pamakumar Narasimhamurthy’s “A Billion Color Story” questions the idea of filmmaking in today’s chaotic age through the story of a mixed-religion family in a divisive and conflicted India. 

“Burning Birds,” directed by Sri Lankan Sanjeewa Pushpakumara, traces a village in his home country where a woman whose husband has been killed struggles against poverty and the contempt of a male-oriented society to feed her eight children, eventually resorting to extreme choices. 

“Her Mother” by Japanese Sato Yoshinori follows a woman whose state of mind becomes increasingly complicated as she attempts to understand the son-in-law who killed her daughter.

Lee Dong-eun’s “In Between Seasons,” a remake of the Korean director’s own graphic novel, probes into a mother-son relationship and the secrets that lie beneath.

In Chinese director Wang Xuebo’s debut film “Knife in the Water,” a man is forced to kill his cow by the people of his traditional mountain village. The cow stops eating, as if understanding the situation. 

“Lady of the Lake” by Indian Haobam Paban Kumar depicts a man who seeks an opportunity to wield his gun, powerless and vengeful after the government incinerated the lakeside village he called home.

Korean Lim Dae-hyung’s “Merry Christmas Mr. Mo” features a barber living in the countryside who becomes diagnosed with a terminal illness. Having led an impeccably routine life until now, Mr. Mo decides to shoot a film before he dies.

“Parting,” Afghan-Iranian Navid Mahmoudi’s debut film, explores the ongoing tragedy of illegal immigrants from Afghanistan. 

Chinese Li Yulin’s debut “Someone to Talk To” is a portrait of two characters in modern China -- a cobbler in constant conflict with his wife and his older sister, a street food vendor -- who desperately want to connect with others but have forgotten how. 

“The Donor” by Chinese Zang Qiwu also depicts the dark side of modern China through a family whose goodwill brings tragedy to all. The father, unable to support his family, decides to sell his kidney. 

“White Ant” is Taiwanese documentary filmmaker Chu Hsien-Che’s debut feature, a psychological drama about sexual fetishism. A young man living alone and working at a bookstore derives sexual pleasure by stealing and wearing women’s underwear. 

By Rumy Doo (doo@heraldcorp.com)