Sept movies that best showcase Yum's acting range

Renowned for her remarkable versatility and celebrated performances, Yum Jung-ah stands as one of South Korea's most accomplished actresses, boasting an illustrious career that spans over three decades. At the age of 51, she has left an indelible mark on the cinematic landscape, effortlessly navigating a diverse array of genres, from the chilling realms of horror to the light-hearted domain of comedy, and from the emotional depth of melodrama to the gripping tension of thrillers. Born in 1972, Yum Jung-ah's journey to stardom commenced with an unexpected chapter—winning the prestigious title of Miss Korea in 1991, a detail often overshadowed by her later cinematic triumphs, which is probably the way she would have it. 

That’s because Yum Jung-ah harbored a profound aspiration to become an actress since her teenage years. Determined to free herself from her image as a beauty pageant and be recognized by her peers for her acting prowess, Yum Jung-ah meticulously crafted a career defined by compelling performances. As we delve into this week’s KO-pick, we will highlight the films that not only underscore her acting finesse but also serve as a testament to her personal and professional evolution over the years.

A Tale of Two Sisters (2003) by Kim Jee-woon

Her inaugural foray into the world of acting transpired in the form of the high school drama series Our Heaven (1991), followed by her cinematic debut in the poignant melodrama Jazz Bar Hiroshima (1992) the subsequent year. While actively engaging in television dramas during the 1990s, Yum Jung-ah's cinematic breakthrough came with the psychological horror classic A Tale of Two Sisters (2003), directed by Kim Jee-woon. The film, inspired by an old folktale, revolves around a girl's return from a mental institution, reuniting with her sister, only to unravel disturbing events at home. Stepping into the role of an unsettling mother-in-law, Yum showcased a depth of emotion and complexity that went beyond the superficial. Not only did it solidify her presence in the film industry, but it also marked a pivotal moment in her career; she attributed this movie as the catalyst for discovering her own personal approach to immersing herself in her roles.

The Big Swindle (2004) by Choi Dong-hoon

Following the success of A Tale of Two Sisters, this newfound recognition and confidence paved the way for her compelling portrayal as a femme fatale in the caper film The Big Swindle, marking the directorial debut of Choi Dong-hoon, best known for The Thieves and Alienoid. In this heist comedy, a group of cunning con artists collaborates to orchestrate the most audacious theft in Korean history—5 billion won directly from the Bank of Korea. However, the success is marred by tragedy, leading to a pursuit by the police and internal betrayals. As the narrative unfolds, the film delves into the aftermath of the heist, with one member dead, another arrested, and the remaining trio grappling with betrayal. Yum Jung-ah assumes the role of Seo In-kyeong, the partner of the veteran mastermind behind the heist. This collaboration with Choi Dong-hoon would later extend to projects like Woochi and the more recent Alienoid.

Lovely Rivals (2004) by Jang Kyu-sung

In a delightful departure from the two aforementioned roles, in Lovely Rivals (2004) Yum Jung-ah traded the eerie for the comedic, revealing a wholly different facet of her acting prowess. This romantic comedy unfolds as a humorous tale of rivalry between a teacher and her student vying for the affection of a charming new colleague. Yum Jung-ah assumes the role of Yeo Mi-ok, a fifth-grade teacher whose childlike and immature antics are aimed at winning the heart of the new art teacher. As the story unfolds, Yeo Mi-ok's competitive and jealous nature comes to the fore, particularly when she discovers that one of her students, Ko Mi-nam, also harbors feelings for the new teacher. This role provided a refreshing glimpse into her diverse skill set as she engages in attempts to sabotage the nonexistent romance. 

Cart (2014) by Boo Ji-young

After getting married in 2006, Yum Jung-ah stepped away from the public eye, focusing on her family with only a fleeting cameo in Choi Dong-hoon's Woochi. Her return to the limelight came with the impactful TV series Royal Family (2011), setting the stage for her remarkable role in the acclaimed indie drama Cart (2014). Directed by Boo Ji-young, the film sees Yum Jung-ah shattering her glamorous, high-profile image as she takes on the role of a supermarket employee fighting against unfair labor practices—a far cry from her usual on-screen persona. Sun-hee is a single mother working as a part-time cashier, striving to provide for her family while yearning for a permanent contract. When the management decides to terminate all part-time workers without proper compensation, she becomes a pivotal figure in the ensuing labor dispute, joining the union and steadfastly fighting for her rights. Premiering at the Toronto International Film Festival in 2014, Cart garnered acclaim and earned Yum Jung-ah the prestigious Best Actress in Film Award at the 2015 Baeksang Arts Awards.

Intimate Strangers (2018) by Lee Jae-il

In 2018, Yum Jung-ah experienced a career highlight, marked not only by the success of the TV drama series Sky Castle (2018-2019), a satirical exploration of the affluent, but also by her role in the sleeper comedy hit Intimate Strangers (2018). A group of friends sharing a private dinner at home decide to challenge each other to reveal every single phone call and message they will receive throughout the night, only to get into more troubles than they bargained for. This Korean adaptation of an Italian comedy whose main action unfolds over a single night in a dining room was the perfect opportunity for a talented ensemble cast to shine, and Yum immediately knew upon receiving the scrip that she had to be involved. She plays Soo-hyun, a dedicated housewife whose life has always revolved around supporting her ambitious husband ever since his attempts to pass the bar exam, but he takes issue with her being part of a book club.

Another Child (2019) by Kim Yun-seok

At the pinnacle of her fame, delivered a subtle yet powerful performance in Another Child (2019), the film directing debut of renowned actor Kim Yun-seok, who was Yum's co-star in The Big Swindle. Adapted from a play, the narrative unfolds as a teenage girl uncovers her father's affair with the mother of one of her classmates, leading to a complex web of emotions and decisions. In an attempt to resolve the situation discreetly, the daughter proposes an alliance with her classmate, but the course of events takes an unexpected turn when the classmate opts for full disclosure, leaving the cheating husband to face the consequences. Yum Jung-ah portrays the wife of the cheating husband, navigating a landscape fraught with anger and resentment.

Smugglers (2023) by Ryoo Seung-wan

In her first collaboration with action film director Ryoo Seung-wan, Yum went back to crime thriller fare with Smugglers (2023). Set against the backdrop of the 1970s, the film explores the challenges faced by a group of female divers whose livelihoods are jeopardized when their main fishing ground falls victim to pollution from a new factory. As the divers turn to salvaging items left by smugglers on the seafloor to make ends meet, they unwittingly entangle themselves in a dangerous game that attracts undesirable attention. Yum Jung-ah portrays Um Jin-sook, the resilient leader of the divers-turned-smugglers, who reluctantly agrees to follow the plan suggested by her friend (Kim Hye-soo). The narrative takes a harrowing turn as Jin-sook witnesses the tragic demise of her father and brother, just before being arrested by customs. Her friend having managed a timely escape, she suspects she might have tipped the customs. The fact that two actresses in their fifties can headline one of a Korean summer tentpole movie was already reason to celebrate and shows how much progress has been achieved in the industry. Yum’s performance is nothing like what she played before, being more like a Swiss knife made of all the different styles of acting she has perfected over the years, and goes a long way to demonstrate the resilience of an actress who has never ceased to break out of her comfort zone.