En 2007, Hubert Niogret et Lorenzo Codelli décident de s'intéresser aux différentes générations du cinéma chinois qui se sont succédé depuis la Révolution culturelle. Cette année-là, la Chine prépare ses Jeux olympiques. Quelles conséquences l'événement a-t-il sur l'évolution du cinéma, qui dépend tellement là-bas du contrôle politique ? Une nouvelle génération de cinéastes sort de la clandestinité.

France/Korea, 2005 (Film on Film)
影片從一九○五年日本殖民時期開始說起，以至政治審查及最近鬧得熱哄哄的外語片配額制度都有旁及，並請來金基德等導演大談創作環境。
MIFF has enthusiastically flown the flag for South Korean cinema, championing such diverse and mind-altering work as MIFF guests Kim Ki-duk (retrospective in 2002), Park Chan-wook (Old Boy 2004), Im Sang-soo (President’s Last Bang 2005) and Kim Jee-woon (A Bittersweet Life 2006).
South Korean cinema is in the throes of a creative explosion where mavericks are encouraged and masters are venerated. But from where has this phenomenon emerged? What is the culture that has yielded this range of filmmakers?
With The Nine Lives of Korean Cinema, French critic, writer and documentarian Hubert Niogret provides a broad overview but, nevertheless, an excellent entry point into this unique type of national cinema that still remains a mystery for many people.
The product of a troubled social and political history, Korean cinema sports an identity that is unique in much modern film. Niogret’s documentary tells of the country’s cinematic history – the ups along with the downs – and gives further voice to the artists striving to express their concerns, fears and aspirations.

This documentary film focuses on the life and legacy of director King Hu. Included in it are clips from interviews with Poon Yiu-Ming (chief editor, Ming Pao Monthly), production manager Chaplin Chang, historian and producer Peggy Chiao, actor Yue Hua, choreographer/producer/actor Wu Ming-cai, and cinematographer Hua Hui-ying, amongst others. The documentary was produced by Yann Brolli and Hubert Niogret for French label Les Films du Tamarin/Filmoblic in 2011.