In parallel with the rise of Korea’s commercial industry and the building of its studio system that has seen Korean cinema flourish both on the local and international stage, Korean independent films have also left an indelible mark both home and abroad. They are a vital part of the industry giving emerging and established filmmakers an opportunity to learn and experiment in ways that are not often possible with more mainstream and expensive features.

With the post-pandemic ecosystem in a very different place compared to prior to 2020 seen through a 45 percent drop in theatrical admissions as it struggles to stage a recovery along with film investment drying up, it makes the independent sector more crucial than ever providing a lifeline for the industry.

During and after the pandemic local independent films continued to be released encompassing both documentaries and fictional features. There were 123 Korean independent / art films released in 2024 out of a total 604 releases, according to the 2024 Korean film industry report published by the Korean Film Council (KOFIC) at the beginning of this year. In the report, it also states that while the total number of films decreased by 66 films, the overall share of Korean independent art films increased by 1.5 percent to 9.2 percent. Significantly, in terms of revenue, Korean independent and art films reached a 10-year high hitting 23.7 billion won, a 133.2% (13.5 billion won) increase year-on-year. The number of viewers also increased by 129.4% (1.47 million) to 2.61 million.

To a large degree this jump in sales and admissions was due to the success of political documentaries The Birth of Korea (2024), Kim Dae-jung Must Not Die (2024) and First Lady (2024), which pulled in 1,173,927, 115,336 and 90,010 admissions, respectively making them the first, third and fourth most successful Korean independent films last year. In 2024 and earlier this year, Korea saw much political turmoil with the Martial Law Crisis in December of 2024 and the events leading and following it.  

Political documentaries have struck a chord previously. Lee Chang-jae’s This is the President (2023) about former President Moon Jae-in accrued 116,000 admissions in 2023. His earlier film Our President (2017) about the late president Roh Moo-hyun sold 1.8 million tickets in 2017. Both films were Jeonju Cinema Projects supported by the Jeonju International Film Festival. Other features like Choi Seung-ho’s Spy Nation (2016) and Criminal Conspiracy (2017) have also performed robustly amassing 144,000 and 260,000 admissions, respectively.

But in 2024 it was also other titles that were drawing in impressive numbers for low-budget films. Kim Yong-gyun’s Picnic (2024) that was distributed by Lotte Cultureworks but budgeted at 1.2 billion won ($862,856) was a hit among older viewers with 37% of those who booked a CGV ticket in their 50s, the highest amongst all age groups. About a woman who visits her hometown in Namhae for the first time in 60 years, the film sold a total of 363,932 tickets after its release in February 2024. The film stars Na Moon-hee, Kim young-ok, Park Geun-hyung and Ryu Seung-soo.

This week, we take a look at some of the independent films that resonated with viewers last year as it illustrates the importance of education, festivals and theatrical exhibition for the independent film industry as we examine its sustainability going forward.

Education – KAFA graduates continue leave their mark (Oh Jung-min (House of the Seasons), Lee Sang-chul (Blesser)) 

Education has been a crucial component in many sectors of the economy; from technology to business and finance. The success of Korea’s film and wider content industry is undoubtedly down to an array of factors, but education and training has played a pivotal role in not only providing students with the skills and guidance but the opportunities to helm short films and features. Both the commercial and independent sectors have benefited from the ever-growing alumni of students that have emerged from Korea’s film schools and university degree programs specializing in film.

KAFA (Korean Academy of Film Arts) established by KOFIC in 1984 has been at the center of training Korea’s next generation of filmmakers. In the 1990s, it was Bong Joon Ho, Jang Joon-hwan, Im Sang-soo and Choi Dong-hoon. After it launched its feature program in 2006, while also focusing on its other programs that now includes animation, it has trained, nurtured dozens of filmmakers that are now active in the independent film industry. While much attention is on the films KAFA produces, KAFA graduates continue to direct films that are generating revenue at the box office, while also securing film festival invitations and winning awards.

Oh Jung-min majored in directing at KAFA and helmed his first feature House of the Seasons (2024) that premiered at the Busan International Film Festival where it was one of the most talked about films of the event. The film, which stars Kang Seung-ho, Woo Sang-jeon, Son Sook, Cha Mi-kyung follows the different generations of a family who come together for a memorial ceremony at their family-owned tofu factory. Fusing different tones as rifts appear between the disparate personalities, it paints a captivating portrait of some of the tensions that can surface when relatives meet and dine together. The film generated 31,706 admissions propelled by strong word-of-mouth.

Like, Oh Jung-min Lee Sang-chul also majored in directing at KAFA and has directed several films including Jesus Hospital (2012). His most recent feature Blesser screened at several festivals such as the Busan International Film Festival and Seoul Independent Film Festival. It centers on a political reporter who gives birth to twins. One of her babies is born with a developmental disability that has a profound effect on her life as she struggles to raise her son and is forced to confront the stigmas and discrimination associated with disability. The title sold a total of 25,969 tickets.

The film stars Kim Jae-hwa as the protagonist, a familiar face having appeared in many films and dramas in supporting roles. This film gives her an opportunity to shine as a lead illustrating the importance of independent films as a platform for character actors to take on central roles. Other examples include Ki Joo-bong (Merry Christmas Mr. Mo (2017)).

Festivals Launch Korean Indies (Because I Hate Korea, Idiot Girls and School Ghost: School Anniversary)

Festivals in and out of Korea are crucial launching pads for independent cinema and looking ahead, festivals will remain vital events from which films are introduced to audiences and discovered. The coverage that is generated at festivals can help a PR campaign for a title, especially in an environment where there is no shortage of content.  House of the Seasons was a feature that benefited from the Busan platform garnering strong reviews and then picking up three awards including the KBS Independent Film Award.

Because I Hate Korea (2024) also premiered at the Busan International Film Festival but was able to take advantage of the extra publicity as the festival’s opening film in 2023. Featuring Go Ah-sung as a young woman who is fed up living in Korea, she takes the step to immigrate to New Zealand where she faces more difficulties – this time as an immigrant.

Connecting with young people who could identify with the leading protagonist, the feature became the fifth most successful Korean independent / art film last year pulling in more than 60,000 viewers at the box office. Directed by Jang Kun-jae, he is also part of the KAFA alumni having studied cinematography there.

The low-budget horror film Idiot Girls and School Ghost: School Anniversary (2024) directed by Kim Min-ha had its world premiere in the Korean Fantastic section of the Bucheon International Fantastic Film Festival (BIFAN). Starring Kim Do-yeon, Son Ju-yeon, Kang Shin-hee and Jeong Ha-dam, it follows high school students who discover a video tape recorded by their seniors that reveals if they win a ghosts’ hide-and-seek game, they can secure a 100 percent score on their college entrance exam.

The film sold 30,000 tickets in 2024, and a sequel by the same director (Teaching Practice: Idiot Girls and School Ghost 2 (2025)) premiered in Korean Fantastic at BIFAN this year in what is an interesting time for Korean horror following the success of Exhuma (2024) and Noise (2025). 

The link between festivals and Korean independent films is a strong one. Indeed, the future of Korea’s festivals – not just Busan, Jeonju and Bucheon but also others such as the Seoul Independent Film Festival, Seoul International Women’s Film Festival and the DMZ International Documentary Film Festival that program many Korean independent films - is closely interconnected with the health of Korea’s independent industry.

Theatrical Exhibition and Streaming

These titles performed strongly in cinemas in Korea in what is an uncertain time for the industry. The fact that independent films are working with audiences is further evidence that viewers are not swayed by CGI and spectacular sequences but by stories that they can connect with. This is related to what is becomingly increasingly clear in the Korean box office where bigger budgeted fare is far less bankable than it was in the blockbuster era of the 2000s and 2010s thereby presenting an opportunity for films with more modest budgets and Korea’s independent film industry.

Still, streaming has upended the ecosystem as viewers are also keen to watch content at home with short-form content also growing in popularity in what further adds to the complexities facing the industry. The issue of “holdbacks” will be a source of debate going forward not just for Korea but elsewhere as well. This refers to the period between its theatrical debut and its release on streaming platforms. Nevertheless, streaming does provide an opportunity for these titles to be seen by those who couldn’t watch them in theaters. Furthermore, given that these titles were released in cinemas it enables these films to standout further underscoring the importance of exhibition for independent films. And for these films to make it into theaters giving the independent industry continued sustainability, festivals and film schools like KAFA are instrumental.

Written by Jason Bechervaise

Edited by kofic