KWON Chil-in is known for his strength with melodramas featuring urban workingwomen main characters. His films depict the work and love of young women who carve their ways through their lives without depending on men. This characteristic of his movies was best shown in <Singles> (2003), known to be the representative work of the late [CHANG Jin-Young]. The heroin of the movie, Nanan, is demoted at work, but bounces back through her persistence. Candid and openhearted in...More

KWON Chil-in is known for his strength with melodramas featuring urban workingwomen main characters. His films depict the work and love of young women who carve their ways through their lives without depending on men. This characteristic of his movies was best shown in <Singles> (2003), known to be the representative work of the late [CHANG Jin-Young]. The heroin of the movie, Nanan, is demoted at work, but bounces back through her persistence. Candid and openhearted in her relationship with a man, she eventually decides to live her own life. In the early 2000s, Nanan was one of the rare female characters in Korean melodramas to be depicted with self-confidence. KWON’s subsequent films <Hellcats> (2008) and <Loveholic> (2010) also had female leading roles. It is quite unique in the Korean filmmaking industry for a male director to keep making movies with women as main characters. His most recent directing effort is <Love On-Air>, which opened theatrically in January 2012. With a screenplay written by a current radio producer, it is a story about a radio broadcast, which centers on a radio DJ, played by [RHEE Min-jung], who is about to be taken off the air, and a recently hired producer, played by [LEE Jung-jin]. KWON is currently the head of the Director’s Guild of Korea, leading the way for improving the rights and interests of film directors. His fifth film came in 2014, the middle-aged dramedy Venus Talk. Starring MOON So-ri, UHM Jeong-hwa and CHO Min-soo, the film was a Korean reimagining of the popular US franchise Sex and the City, continuing KWON’s streak as a purveyor of women’s films.Less