Unshaken Even in Hard Times: 2025 Review of Korean Independent Cinema

Throughout 2025—and in fact, since the COVID-19 pandemic—Korean cinema has faced a crisis severe enough to threaten its very survival. Independent film has been no exception. With the exception of a few blockbusters and works by internationally renowned directors, commercial films have failed to revive the box office, and as a result, independent films have effectively been pushed outside the public’s field of attention. Within the industry, the presence of independent cinema cannot be evaluated separately from commercial film. Although, as the term suggests, independent films may exist “independently” of the industrial system, the reality is that most theaters in Korea are owned by large conglomerates, making true independence in a literal sense nearly impossible.

Even under these dire circumstances, creators in the independent film sector have continued to release new works and seek out audiences through a kind of guerrilla-style, individual struggle. Thanks to those efforts, in terms of overall craftsmanship, prevailing trends, and new discoveries that inspire hope for the future, Korean independent cinema experienced 2025 with outcomes distinctly different from those of commercial films, which have struggled to escape stagnation.

Documentaries in the First Half, Fiction in the Second

Film and society resemble a game of ping-pong, constantly sending the ball back and forth. The political and social turmoil triggered by last year’s December 3 martial law declaration sparked a wave of competitively released political documentaries that openly championed opposing camps or foregrounded symbolic figures. From their very titles, these films made no effort to conceal their ideological identities, continuing an off-screen battle by directly confronting or strategically countering the opposing side.

When Baeksan – From Uiryeong to Balhae opened on February 5 from the left, 'Stay Strong, ROK' responded from the right on February 27. When 'Search and Seizure: The Rise of Insurrection' hit theaters on April 23, it was followed by 'Korean Election Fraud, God's Will?' on May 21. 'Again Cho Kuk', 'The Birth of Korea 2' 2 premiered on May 14, it was countered by Founding War 2 on September 10.

Film critic Jung Ji-hye observed, “Unlike in previous years, when films with strong propagandistic characteristics appeared across the ideological spectrum, the aftermath of the December 3 martial law led to a noticeable rise in works where political events and political necessity became directly intertwined.” It was an unprecedented moment—rarely, if ever, had political documentaries drawn this level of attention in Korean theaters.

 

 

Following the December 3 martial law incident, political documentaries such as ‘Search and Seizure: The Rise of Insurrection’ (left) and ‘The Birth of Korea 2' were released in rapid succession in a competitive pattern.

 

This development cannot be evaluated purely positively, as most of the films were produced hastily due to the urgency of public statements. This was the assessment of Jang Byeong-won, chief programmer of the DMZ International Documentary Film Festival. “There were many works that strayed from the core mission of documentary filmmaking by distorting history or demonizing the opposing side. Even if some level of commercial motivation existed, the real issue was that extracinematic factors were at play,” he said.

 

These politically driven films ultimately rendered meaningful evaluation of the films themselves impossible, as political issues overwhelmed cinematic discussion. As a result, documentaries of entirely different character failed to receive due attention—such as ‘K-Number,’ which explores the unsettling reality of adoptees; ‘1980 Sabuk,’ which uncovers the truth behind the Sabuk coal mine uprising; and ‘The Moment the Bell Rings,’ which raises questions about policies that damaged nature under the pretext of large-scale events. This political saturation contributed to a market environment in which such works struggled to stand out.

 

As the first anniversary of the December 3 incident approaches, the release of political documentaries—including ‘National Reset,’ ‘The Forgotten President: The Reform Era of Kim Young-sam,’ and ‘The Republic of Korea Is Run by Its People’—is expected to continue for the time being. However, public interest in these works appears limited. Their repetitive, agitation-driven construction has generated fatigue, and above all, the strong performance of narrative feature films in the second half of the year has drawn attention elsewhere.

 

Surpassing 100,000 admissions on November 15, ‘The World of Love’ (released October 22) became the second-highest-grossing Korean independent art film of the year, following ‘It’s Okay!’ Also leaving strong impressions regardless of their box-office numbers were ‘The Final Semester,’ which drew media attention for its portrayal of vocational high school seniors in field training, and ‘3670,’ which depicts the search for love and survival strategies of a North Korean defector who is also a sexual minority (both released on September 3). These films stood out as some of the most memorable independent works of the year.

 

Film critic Jung Ji-hye noted that “the series of events experienced by individuals who fail to assimilate into the existing order intersected with the current social climate and emerged in works of diverse character.” She described both ‘The World of Love’ and ‘The Final Semester’ as “rare breakout independent films in recent years,” and remarked of ‘3670’ that “while queer films focusing on female sexual minorities have been more common, it was particularly notable to see a work centered on the male queer community after a long time.”

 

 

From the top left, the top three Korean independent live-action box office hits of the year:
‘It’s Okay!’, ‘The World of Love’, and ‘Homecam’
(Courtesy of BY4M Studio, Barunson E&A, and Studio Santa Claus Entertainment)

 

 

Feature films, in particular, drew attention through a wide range of creative attempts, unlike mainstream cinema, which tends to rely on fixed genres such as action, comedy, or horror. ‘When Summer Is Past,’ directed by Jang Byeong-gi and winner of Best Director at the Korean Film Critics Association Awards, explored power and class dynamics among children. ‘It Had to Be a Secret,’ by Kim Dae-hwan—who previously participated in the script-polishing process for ‘Parasite’ (2019)—depicted hidden aspects of family relationships unknown even to its own members. ‘People and Meat,’ which gained momentum through reverse box-office success as its theater count surpassed 40 screens in its sixth week of release, portrayed the loneliness of an elderly person living alone. ‘Five Minutes of You and Me,’ winner of the Best Film Award at the East London LGBTQ+ Film Festival, delicately depicted an intimate relationship between two boys formed through music. Together, these works demonstrated the broad spectrum of independent cinema, refusing to converge into any single genre, tone, or mood.

Regarding this trend, Kim Young-woo, a programmer for the Mise-en-Scène Short Film Festival, remarked, “Although this trajectory stood in contrast to the downturn of mainstream cinema, it did not reach the level of public attention that independent films received in 2019 with ‘House of Hummingbird’ and ‘Maggie,’ or in 2020 with ‘Lucky Chan-sil’ and ‘Moving On.’” He expressed regret that, while independent cinema might not serve as a complete solution to the stagnation of the Korean film industry, it could at least have created a point of resurgence. However, external obstacles—such as limited screen availability and audiences’ growing reluctance to visit theaters—proved difficult to overcome.

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Awards Overseas, the Revival of Film Festivals

The achievements of Korean independent cinema in 2025 were also evident in its success at film festivals both at home and abroad. At this year’s Cannes Film Festival, no Korean feature was invited to the Official Competition, nor did any feature receive recognition in any section. Instead, it was short films that delivered the good news. Director Jung Yu-mi’s animated short ‘Glasses’ became the first Korean animation to be selected for the Short Film Competition of Critics’ Week, an independent parallel section of the festival. Meanwhile, in La Cinef—a section dedicated to introducing mid- and short-length works by emerging filmmakers, including students from film schools around the world—director Heo Ga-young’s ‘First Summer,’ which centers on an elderly woman, won first prize.

While these awards at Cannes are significant, what deserves even greater attention is the remarkable rise of Korean animation. Following the success of ‘Glasses,’ director Kim Bo-sol’s ‘The Square’ won the Jury Award in the Feature Film Contrechamp section at the Annecy International Animation Film Festival, widely regarded as the world’s most prestigious animation festival. Set in Pyongyang, ‘The Square’ tells the story of a romance between a Swedish male diplomat and a North Korean woman, and it also went on to win the Grand Jury Prize at the War on Screen International Film Festival—turning the promise of Korean animation into a concrete reality.

For Korean animation, 2025 stands as a truly landmark year. A total of four feature-length animated films—‘Exorcism Chronicles,’ ‘What This Star Needs,’ ‘Your Letter,’ and ‘Bad Girl: Run, Hani’—were released through theaters and OTT platforms. Beyond feature films, Korean animation continued to achieve results at international festivals across both short and feature formats throughout the year. After long being overshadowed by American and Japanese animation, the strengthened presence of Korean animation could finally be observed consistently over the course of a single year.

Several feature-length animated films, including ‘The Square,’ have already confirmed their releases for next year, and investment in animation—both from film institutions and private sectors—has increased compared to previous years. This makes anticipation for how Korean animation will be evaluated in the 2026 year-end review all the more exciting.

Korean independent films that shone at international film festivals.
From the top: ‘First Summer’ directed by Heo Ga-young, ‘The Square’ directed by Kim Bo-sol, and ‘Glasses’ directed by Jung Yu-mi (Courtesy of the Korean Academy of Film Arts, Match Cut)

‘Exorcism Chronicles,’ which ranked No. 1 at the Korean independent film box office this year (as of November 24) (left), and ‘Your Letter,’ which received critical acclaim and strong audience response, both showcased the bright future of Korean animation (Courtesy of Showbox, Lotte Entertainment)

Among narrative features, the most striking title is director Yoon Ga-eun’s ‘The World of Love.’ Portraying a young girl’s determination not to let past trauma become an obstacle to moving forward, the film was the first and only Korean feature invited to the Competition section of this year’s Toronto International Film Festival, and it went on to win the FIPRESCI Prize at the Warsaw International Film Festival. Director Lee Ran-hee’s ‘The Final Semester’ continued its success as well, following its four-award sweep at last year’s Busan International Film Festival—including the Actor of the Year Award—by winning both Best Film and Best Screenplay at this year’s Korean Film Critics Association Awards.

In particular, the list of winners announced at the 45th Korean Film Critics Association Awards on November 6 served as a clear barometer of how independent films outperformed mainstream commercial cinema this year. In addition to the awards won by ‘The Final Semester’ director Jang Byeong-gi received Best Director for ‘When Summer Is Past,’ actress Jang Sun won Best Actress for ‘Red Nails’ and actor Park Jung-min received Best Actor for ‘The Ugly’ a film independently directed by Yeon Sang-ho with a personal investment of 300 million won. The Korean Film Critics Association also announced this year’s “Critics’ Top 10,” equivalent to the best films of the year, and no fewer than eight of the selected titles were independent films: ‘The Final Semester’ ‘The Seagull of the Morning Sea,’ ‘When Summer Is Past,’ ‘3670,’ ‘Red Nails’ ‘The Ugly’ ‘Spring Night,’ and ‘The Island: Longing.’

This is a highly unusual outcome and cannot be explained simply by the downturn of mainstream commercial cinema. Nor should it lead to an underestimation of the achievements of independent films. While some point out the absence of works that are “radical, daring, or provocatively disruptive,” independent cinema—unlike the commercial film scene, where news of new productions has nearly ground to a halt—continues to produce films under limited conditions, and moreover, continues to create works that leave a lasting impression. Underlying this momentum are not only the creative drive of independent filmmakers and various forms of production support, but also the indispensable role played by film festivals, which act as a vital backing force by guaranteeing independent films a minimum opportunity for theatrical exhibition and the chance to receive public spotlight, despite their difficulty in securing screens through conventional means.

 Korean independent films that made a strong impression this year, in contrast to the downturn of commercial cinema.

From the top left: ‘People and Meat,’ ‘Red Nails’ ,‘3670' ,‘The FInal Semester,’ and ‘When Summer Is Past’

(Courtesy of Triple Pictures, Emu Cinema & Café, At Nine Film, Workshop Bom)

The most welcome piece of news related to film festivals this year was the revival of the Mise-en-Scène Short Film Festival. After being temporarily suspended following its 20th edition in 2021, the festival returned after four years and marked a highly successful comeback. Excluding the opening ceremony and talk programs, 17 out of 35 regular screenings were sold out, achieving a seat occupancy rate of 92%. Over the five-day event, the festival attracted a total of 7,500 viewers. Programmer Kim Young-woo explained the key factors behind the festival’s success: “The participation of actively working young directors such as Jang Jae-hyun, Um Tae-hwa, Lee Sang-geun, and Yoon Ga-eun in the organizing committee significantly boosted public interest. Unlike the short film sections of other festivals, its specialization in genre films stimulated audience curiosity. At a time when Korean cinema is facing contraction, the shared desire to discover new faces and new momentum also contributed to the result.”

The fact that festivals supporting independent films and filmmakers are achieving successful outcomes—and that competition rates are rising due to the growing number of submissions—indicates that young talents who want to make films still very much exist. Another representative example that confirms this is the Seoul Independent Film Festival. Now in its 51st edition, the festival received 1,805 submissions this year, surpassing last year’s 1,704 entries and setting a new all-time record. Kim Dong-hyun, the festival’s programming director, explained the background behind this consistent record-breaking trend: “Interest in film remains strong. The development of digital technologies such as artificial intelligence (AI), the creative drive of aspiring filmmakers, and the expansion of film education institutions have all lowered the barrier to filmmaking. People say, ‘Korean cinema is in crisis,’ ‘There’s nothing to watch except OTT,’ even that ‘the industry has collapsed,’ but in terms of content creation, the will to create films is clearly still alive.”

Sustained Creative Passion, Tasks That Remain

That the foundational soil of the film ecosystem—film festivals—continues to see large numbers of submissions is certainly a positive sign. The challenge now lies not in being satisfied with record-breaking quantity, but in strengthening quality to reinforce the overall ecosystem of Korean cinema. It is crucial to continue discovering new talents, to actively support their next projects so that they exceed audience expectations, and to open up sufficient theatrical screens so these works can meet more viewers. Only then can fresh blood be transfused into the stagnant Korean film industry and blocked circulation be restored.

 

Chairman Kim Dong-hyun emphasizes this point: “Because filmmaking has become more accessible than before, the number of films is increasing, but that does not mean the number of works that deeply engage with the nature of cinema is rising at the same pace. What truly matters is the next film—the ability to make a good one.” Programmer Kim Young-woo’s concerns are also worth listening to: “At the Mise-en-Scène Short Film Festival, there were far more works screened in the ‘Save the Cat’ section, which focuses on social issues, than in the thriller, action, or comedy categories. Rather than digging into the relationship between individuals and social structures, many films simply used society as a backdrop to unfold personal stories. There were strong works, but overall, the level of satisfaction was somewhat lower.”

 

 

One of the most noticeable trends in Korean short films this year was the sharp increase in works featuring aliens or referencing extraterrestrial beings. As Kim Young-woo noted, this reflects a tendency to approach issues not by delving into social structures through the relationship between the individual and society, but instead by framing them as anomalous phenomena and resolving them through genre conventions. A representative example is director Jung Eun-uk’s ‘The Conquered,’ which links the loss of modern identity with the issue of missing persons and unfolds it as part of an alien conspiracy within the framework of science fiction. With a brief running time of just 16 minutes, the film leaves the impression that it focuses primarily on visual imagery of the genre, but regardless of its level of completion, it stands out as refreshing for adopting themes and settings rarely encountered in mainstream commercial cinema.

 

 

 

After returning following a four-year hiatus, the Mise-en-Scène Short Film Festival drew widespread attention with a seat occupancy rate of 92% and a total audience of 7,500. The photo shows the closing ceremony of this year’s festival

(Courtesy of the Mise-en-Scène Short Film Festival).

 

 

This kind of bold challenge and daring experimentation is precisely what Korean cinema needs right now. However, at present, the discourse surrounding the crisis of Korean cinema is narrowly focused on issues that tend to attract widespread public attention—such as the box-office performance of major films, new releases from large production companies, and awards at major international festivals like the Cannes Film Festival. As a result, the industry is, in some respects, being portrayed as if it were beyond recovery.

 

“The market situation is difficult. Even when independent films secure theatrical releases, their influence and ripple effect are far weaker than those of commercial films, which makes things even tougher. The foundation of independent cinema lies in financing, yet the environment for receiving production grants, public funding, and crowdfunding support has not improved much. Still, compared to commercial cinema, independent film is relatively less affected. We have always made films under poor conditions, and even now, the passion to keep producing remains strong.” As programmer Jang Byeong-won noted, unlike commercial films—which are absolutely dependent on numerical performance—independent films have continued to be made regardless of whether funding is sufficient or insufficient, whether screen counts are high or low, or whether box-office results are good or bad. Because they have simply kept making films as they always have, their overall performance this year has not differed greatly from previous years.

 

 

Even so, the presence of independent cinema shone more brightly this year due in part to the relative downturn of commercial films. For this reason, Chairman Kim Dong-hyun speaks with conviction: “When you sow these seeds and cultivate the soil, fruit will be borne several years down the line. If independent film can endure within the ecosystem of the film industry until that moment, good results will follow. In that sense, we have a deep sense of reassurance. No matter how difficult things become for Korean cinema, we will not be shaken.”

 

Written by Heo Nam-ung (Film Critic) (CLICK)