In the wake of the resounding success of 12.12: The Day, a cinematic phenomenon has taken root—a peculiar allure for villains who stoke the flames of our collective fury. Surpassing the 7 million admissions milestone, the film has become a cultural touchstone, lauded for its historical narrative that transcends generational gaps. Despite its inevitable conclusion, the movie's ability to immerse viewers in the high-stakes drama of the past is undeniable. 

What sets 12.12: The Day apart is its resonance among a demographic largely unfamiliar with the historical events it portrays. Those under 40, who could not have experienced the events firsthand, found themselves on the edge of their seats during the film's gripping climax. The tension was palpable, proving that even foreknowledge couldn't dampen the emotional impact for those experiencing the story for the first time. The film's success extended beyond the box office, sparking a social media phenomenon known as the "anger challenge." Viewers shared their heart rate progression, tracked by smartwatches, as evidence of the emotional rollercoaster the film had taken them on. This online frenzy only fueled curiosity, encouraging more to witness firsthand what provoked such visceral reactions.

Moreover, 12.12: The Day triggered a renewed interest in the events preceding and following the 1979 coup. On streaming platforms like Netflix, films like The Man Standing Next and 1987: When the Day Comes surged back into the daily top 10 most-watched lists. It seems that the need to grapple with the depicted historical tensions and the subsequent quest for justice prompted viewers to seek solace and understanding in related narratives.

This week, we delve into the realm of Korean cinema to uncover 10 other villains who, much like those in 12.12: The Day, evoke a potent mix of rage and reflection.

​Kyu-hwan in Public Enemy (2002) by Kang Woo-suk

Directed by Kang Woo-seok, already celebrated for his contributions to the cop movie genre with films like Two Cops and Two Cops 2, Public Enemy stormed onto the scene in 2002, clinching the Grand Prize at the Baeksang Arts Awards in Films. At the center of this gripping narrative is Kyu-hwan (Lee Sung-jae), a fund manager and the epitome of a self-made man with a privileged head start. His insatiable appetite for more success, reminiscent of the character in American Psycho (2000), sets the stage for a chilling portrayal of ambition gone awry. The plot starts when corrupt cop Kang has a chance encounter with Kyu-hwan just after he commits a gruesome act—violently murdering his own parents over a dispute regarding their will. Kang later meets him again without recognizing him, but he immediately feels suspicious and starts digging dirt on him. Meanwhile, Kyu-hwan continues his crime spree, fueled by an insatiable desire for more. The character of Kyu-hwan draws inspiration from a chilling real-life figure, Park Han-sang, a serial murderer who, in 1994, stabbed his parents and set their house ablaze, all in a twisted pursuit of inheritance. 

​Jang in I Saw the Devil (2010) by Kim Jee-woon

I Saw the Devil, directed by Kim Jee-woon, stands as a cinematic paradox, dividing audiences into those who find it excessively gory and wicked and those who hail it as Kim's masterpiece. Choi Min-shik takes on the role of Jang, a psychopathic serial killer whose heinous act triggers a relentless pursuit. After assassinating the pregnant fiancée of an intelligence service agent, Jang becomes the target of a now retired agent who embarks on a chilling manhunt. What ensues is a cat-and-mouse game where revenge takes a sadistic turn. Rather than outright killing Jang, the agent opts to make him suffer, releasing him only to hunt him down again. Jang, in turn, refuses to be a passive victim, fighting back ferociously and continuing to make more victims. Choi Min-sik's portrayal of Jang is spine-chilling, with the actor earning praise for bringing to life a character whose crimes are so gruesome that they are best left unmentioned here. As an embodiment of wickedness, he earned his place among the most villainous characters in Korean cinema.

​Yong-seok in Train to Busan (2016) by Yeon Sang-ho

Train to Busan, a Korean film that resonated globally, not only catapulted the zombie genre into the Korean cinematic landscape but also marked Director Yeon Sang-ho's transition from webtoons and animations to live-action filmmaking. The narrative unfolds aboard a high-speed train traversing the entire country, with unsuspecting passengers becoming unwitting escapees from a zombie outbreak that has engulfed Seoul. As the grim reality dawns on them, the once-promising journey takes a perilous turn, with unexpected challenges emerging with each passing kilometer. However, the true monsters on board aren't limited to the zombies. Beyond the constant threat of zombie bites, the film's tension derives from the interactions among the survivors, accentuated by the confined setting of the train, which brings to light societal class divisions. Amidst the chaos, one character, Yong-seok (Kim Eui-sung), embodies the darkest facets of human greed and selfishness. While others strive to protect as many lives as possible, Yong-seok unflinchingly endangers everyone else, even resorting to pushing others to distract zombies for his own escape. Viewers identified in Yong-seok a representation of the social ills that contribute to human tragedies, drawing parallels with real-world events preceding the film's release.

​Pan-gon in Missing (2009) by Kim Sung-hong

Missing, a gripping thriller that leans towards the slasher genre, unfolds a chilling narrative centered around a woman on a desperate quest to find her missing sister. She delves into a small village, tracing the last phone call from her sister to this seemingly quiet locale. Armed with determination, she begins collecting clues and engaging with witnesses, ultimately leading her to a restaurant owned by an elderly man named Pan-gon. However, her accusations are met with skepticism from the local police, who view Pan-gon as a kind and gentle soul. Unbeknownst to them, Pan-gon's facade conceals a sinister truth. Moon Sung-keun delivers an intimidating portrayal of Pan-gon, in a story drawing inspiration from a notorious real-life case involving an elderly fisherman. As the woman follows into the footsteps of her sister and risks to meet the same fate, the film doesn’t shy away from delving into pure psychological horror. Missing takes audiences on a chilling journey, exploring the darkness that lurks beneath the surface of seemingly tranquil countryside villages, and establishing Pan-gon as a formidable and intimidating villain.

Myeong-hak in The Yellow Sea (2010) by Na Hong-jin

Set in the Yanbian prefecture in China, Na Hong-jin's second cinematic endeavor, The Yellow Sea follows a Korean-Chinese man, shackled by financial burdens, who reluctantly agrees to a perilous deal—travelling to Korea to carry out an assassination in exchange for much-needed funds. But he has another reason for accepting this job, as he hopes to find his wife, who ventured to Korea for work and hasn’t contacted him since then. As the intricacies of the plot unfold, the protagonist finds himself entangled in a web of danger. When his assigned target meets an untimely demise just before his intervention, the situation takes a dire turn. Attempting to evade the consequences of his involvement, he realizes the gravity of the predicament he's entered. Unfortunately, escape proves elusive, as the relentless Myeong-hak, the orchestrator of the deadly mission, has just arrived to Korean and is relentlessly pursuing him. Kim Yoon-seok delivers a chilling portrayal of Myeong-hak, a brutal and cold-blooded killer with an almost unstoppable demeanor. His methods are as unorthodox as they are terrifying—neutralizing gangsters with a bone piece from their shared meal or unleashing a massacre armed with a single hatchet against a formidable adversary. 

Ah-gwi in Tazza: The High Rollers (2006) by Choi Dong-hoon

At the heart of this high-stakes tale that is Tazza: The High Rollers, a riveting thriller orchestrated by Director Choi Dong-hoon, is Kim Yoon-seok, once again gracing the screen as a villain, this time portraying the enigmatic and cunning character Ah-gwi. The film unfolds as a journey of redemption for its protagonist, Go-ni, who undergoes rigorous training under one of the world's top swindlers in the realm of hwatu card gambling. Motivated by the desire to avenge the swindlers who deceived him and absconded with his family's savings, Go-ni's quest takes an intense turn when he learns that his mentor fell victim to another formidable figure in the world of deceit—Ah-gwi. Renowned for a reputation that includes eliminating anyone who dares challenge him, Ah-gwi becomes the focal point of Go-ni's determination for justice. While Ah-gwi makes a belated entrance in the latter part of the film, his presence is nothing short of impactful. Kim Yoon-seok's portrayal contributes significantly to the character's aura of menace, leaving an indelible mark on the audience's perception. Tazza: The High Rollers not only immerses viewers in the intricate world of gambling but also cements Ah-gwi as a memorable antagonist, elevating Kim Yoon-seok's recognition in the film industry.

​Ray in Deliver Us From Evil (2020) by Hong Won-chan

Deliver Us From Evil is an action-packed thriller that delves into the complexities of vengeance. At the heart of the chaos is Lee Jung-jae, of ​Squid Game ​fame, who brings to life the character of Ray, an enigmatic figure with a reputation as a relentless and ruthless hitman. Ray's target? The protagonist, In-nam, a hitman hoping to retire and whose life takes a harrowing turn when his last contract happens to be Ray’s estranged brother. As the narrative unfolds, In-nam finds himself caught in a race against time to save his kidnapped daughter from an organ trafficking ring. Ray, aptly nicknamed the "butcher" by his peers, becomes a relentless force of chaos, leaving a trail of bodies in his wake while following In-nam through Korea and Thailand. Lee Jung-jae's dynamic performance was hailed by the critics, as he managed to portray a figure driven by vengeance to the point of losing sight of the very motivations that set him on this path. 

Yeong-suk in Call (2020) by Lee Chung-hyun

A high-concept thriller, Call revolves around Seo-yeon, a young woman who stumbles upon a mysterious connection with Yeong-suk, residing in the same house but two decades earlier. The conduit for their communication? An old telephone that transcends the boundaries of time. As the two women forge an unlikely bond through the phone, their lives become intertwined in unexpected ways. Yeong-suk, armed with the ability to alter the past, changes the course of Seo-yeon's history, preventing the tragic death of her father. However, the intricate web of cause and effect takes a dark turn when Seo-yeon informs them that she will be killed by her stepmother in the future. Although Yeong-suk manages to survive, this event sparks her descent into violence. Jeon Jong-seo's performance as Yeong-suk was the focal point of discussions surrounding the film. Following her acclaimed role in Lee Chang-dong's Burning, Jun Jong-seo delivers an intense portrayal of a character teetering on the edge of madness under the influence of a shamanistic mother.   

Jin-suk in The Hole (1997) by Kim Sung-hong

In The Hole, Yoon So-jung play the character of Jin-suk, a mother whose unconventional attachment to her son transforms her into a harbinger of doom for an unsuspecting couple. Jin-suk, who has always been obsessed with her dear son, is disturbed he announces his intention to marry, shattering the precarious balance of their relationship. What ensues is a sinister tale of maternal possessiveness, as Jin-suk treats her daughter-in-law not as a welcomed addition but as a rival. The tension escalates, leading to disturbing conflicts, including a torturous encounter in a bathtub. As the daughter-in-law decides to escape the clutches of this nightmarish dynamic, a tragic turn of events unfolds. A confrontation between mother and son results in a fatal outcome. Incapable of accepting her son’s death she sinks into a realm of unreality, and in a desperate bid to reclaim what is lost, she lures her daughter-in-law back into the house, ready to take her frustration on her. Yoon So-jung's portrayal of Jin-suk resonates as a haunting depiction of a psychopathic mother-in-law, leaving an indelible mark on the minds of viewers. The impact of her character extended beyond the screen, with some referencing specifically this movie to express their own experiences with challenging mother-in-law dynamics. 

Yeon-hee in Beasts Clawing at Straws (2020) by Kim Yong-hun

A black comedy thriller that proudly wears the influence of the Coen brothers, Beasts Clawing at Straws" is a gripping ensemble piece. While the film boasts a diverse cast, it's the late entry of Jeon Do-yeon that leaves an indelible mark. Jeon's portrayal takes center stage as she embodies the character of a proprietor of a hostess bar with a ruthless determination to carve out a new life. The narrative progresses with various characters entangled in a web of crime, each seeking an escape from their precarious situations. However, it is Jeon's character who, appearing seemingly out of nowhere. seizes the opportunity presented to her while various characters vie to secure their futures, with her eyes set on a luxury bag brimming with banknotes. This coveted treasure goes from hand to hands, leaving a trail of death in its wake. Devoid of moral constraints, she seems to hold the upper hand, until an ultimate twist. Beasts Clawing at Straws showcases Jeon Do-yeon's compelling performance as a master manipulator exploiting the desperation of others.