Korean Film Biz Zone - Korean Film News

Barunson E&A Takes International Sales on Indonesian Zombie Horror Zona Merah: Dead City for Cannes

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Still of 'Zona Merah: Dead City' (provided by Barunson E&A)Barunson E&A, the Seoul-based production and sales outfit behind Bong Joon Ho's Oscar-winning Parasite, has boarded Zona Merah: Dead City, a feature adaptation of the hit Indonesian horror series, and will launch the title at the 2026 Cannes Marche du Film. Produced by Indonesia's Screenplay Films, the zombie thriller is one of the highest-performing titles ever on local OTT platform Vidio, and represents a centerpiece of Barunson E&A's growing Southeast Asian genre portfolio.The original Zona Merah series debuted on Vidio in November 2024, accumulating over 34 million views to lead all streamers -- domestic and international -- in Indonesia, while driving a notable surge in new subscribers. Set in the fictional town of Rimbalaya, the series follows Maya as she races against time to find her missing younger brother Adi amid a rapidly spreading zombie outbreak, before authorities seal off the area as a "zona merah,"

CJ ENM Declares New Production Paradigm with AI-Live Action Hybrid Feature The House

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Still of ‘The House’ (provided by CJ ENM)A total production budget of KRW 500 million (approx. USD 360,000). Principal photography completed in just four days. CJ ENM has produced a feature-length film using a hybrid approach that combines artificial intelligence with live-action footage. The occult thriller The House launched on Korea's homegrown OTT platform TVING on May 1. Actors performed against green screens in live-action shoots, while all backgrounds and visual effects were generated by AI. The project marks the first time a major Korean content company has fully integrated AI into an actual production pipeline -- not as an experiment, but as a working methodology.The House is a Korean occult thriller following Yumi, a young woman who can see the spirits of the dead, as she encounters a series of eerie and unsettling events after moving into a new apartment. In this 60-minute feature, all human performances were captured with real actors, while every visual element -- the apar

Korean Cinema Shines at Cannes: KOFIC Deploys Full-Scale Support

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South Korea is arriving at the 79th Cannes International Film Festival with notable force. The Korean Film Council (KOFIC, Chair Han Sang-jun) has announced a wide-ranging program of on-the-ground support to amplify Korean cinema's international reach during the festival, which runs May 12–23 in Cannes, France. This year's Korean slate at Cannes is among the country's strongest in recent memory. Na Hong-jin's Hope has secured a coveted spot in the Official Competition, while Yeon Sang-ho's Colony screens in Midnight Screenings. July Jung's Dora makes its world premiere in Directors' Fortnight, and Choi Won-jung's Bird Rhapsody has been selected for La Cinef, the festival's dedicated student film section. Adding further prestige to Korea's presence, Park Chan-wook has been appointed President of the Competition Jury — the first Korean filmmaker to hold that role in Cannes history. Among this year's invited works, Dora was produced with approximately KRW 600 million (ap

Exporting the Playbook: What StudioMonowa Reveals About K-Content's New Standing

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Logo of ‘StudioMonowa’ (provided by Natalie)The way Japan's media industry engages with Korean content is changing. Where licensing popular dramas or negotiating remake rights once defined the relationship, April 2026 saw TBS Holdings and U-NEXT Holdings join CJ ENM in establishing a joint studio — StudioMonowa — structured for co-development from the earliest stages of IP creation.StudioMonowa launched with a combined investment of ¥2.5 billion (approximately KRW 23.5 billion / USD 17.2 million), headquartered at CJ ENM's Japan base in Minato-ku, Tokyo. The ownership structure — CJ ENM at 51%, TBS Holdings at 40%, and U-NEXT Holdings at 9% — places creative initiative squarely with the Korean partner.The three companies bring distinct and complementary strengths. CJ ENM contributes the systematic development methodology and global production expertise behind K-content successes including Squid Game and Parasite. TBS Holdings adds its established capabilities in Japanese terrestrial dr

Korean Cinema Builds New Presence at Cannes Through Documentary, XR, and Student Film

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Poster for the La Cinef section of the 79th Cannes International Film Festival (provided by Yonhap News)The Palme d'Or race, the star-studded red carpet — these are the images that typically define Cannes on the international stage. Yet at the 79th Cannes International Film Festival in 2025, Korean cinema's presence is being forged well outside that familiar template. Without a single entry in the main feature competition, Korean film has arrived through three distinct pathways: documentary, XR (extended reality), and student short.The most immediately striking of these is director Lee Myung-se's documentary Ran 12.3. The film documents the declaration of martial law on December 3, 2024, and the surge of citizens who mobilized toward the National Assembly in response — rendered without interviews or narration, through music and image alone. Drawing on footage, photographs, and illustrations captured by more than 200 citizens, lawmakers, and legislative staff, the film reconstructs the

Korea and Canada Formalize Co-Production Agreement, Opening New Institutional Pathways for North American Market Entry

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Picture of Ko Min-su, Standing Commissioner of the Korea Media and Communications (provided by Yonhap News)Korea and Canada have officially signed a co-production agreement covering audiovisual content, including drama series and feature films. The agreement, signed on April 22 by Ko Min-su, Standing Commissioner of the Korea Media and Communications Commission (KMCC), at the Department of Canadian Heritage, marks the culmination of negotiations that began in 2017 — nearly eight years in the making.At the heart of the agreement is a mutual recognition clause: co-productions developed under its framework will qualify as domestic content in both countries. Canada requires broadcasters to meet minimum quotas of Canadian content in their schedules; under this agreement, qualifying co-productions will count toward that threshold, significantly improving their access to Canadian broadcast slots. Additional provisions include facilitated movement of cast, crew, and equipment across borders, a

Park Chan-wook Goes West: The Brigands of Rattlecreek Emerges as the Hottest Project at Cannes Market

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L-R: Park Chan-Wook, Matthew McConaughey, Austin Butler, Pedro Pascal and Tang Wei (provided by DEADLINE)Director Park Chan-wook's new film, The Brigands of Rattlecreek, has emerged as the most talked-about project at this year's Cannes Market. The film carries a reported budget in excess of $60 million (approximately ₩83 billion KRW), and presales are set to be conducted at the Cannes Film Market through the Legendary label led by Patrick Wachsberger.The Brigands of Rattlecreek is based on an original screenplay by S. Craig Zahler. A western thriller set around a gang of outlaws who ransack a small town under cover of a violent storm — and the sheriff and doctor who rise to take revenge — the film promises to unfold Park's signature themes of vengeance, cycles of violence, memory, and family within the grammar of the American western. The cast further amplifies anticipation: Matthew McConaughey as the sheriff, Pedro Pascal as the doctor, Austin Butler as the outlaw leader, and Tang W

Theater Failure, Streaming Success: The Dilemma Humint Reveals About the Korean Film Industry

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Netflix Top 10 (provided by Netflix)Ryu Seung-wan's spy noir Humint made its way to Netflix just 49 days after its theatrical release — and claimed the No. 1 spot on the global non-English film chart within five days of going live. A production budgeted at approximately KRW 23 billion (approx. USD 16.7 million) that failed to draw even two million admissions in theaters before migrating to the platform: this case is a stark illustration of how rapidly Korea's film distribution structure is being redrawn. The 11 million views logged in its first five days on Netflix confirmed the film's commercial potential — yet the fact that this potential was only fully realized on a global streaming platform, rather than in theaters, raises urgent questions about the structural foundations of the Korean film industry today.Behind the swift pivot to Netflix was a reportedly exceptional acquisition deal. According to industry sources, Netflix agreed to purchase the rights under terms that effectively

Korean Box Office Posts Best Q1 Since Pre-Pandemic Era as The King's Warden Claims All-Time Revenue Record

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The Korean Film Council (KOFIC) has released its Q1 2026 box office report, revealing that total theater revenue reached KRW 318 billion (approx. USD 231 million) and total admissions reached 31.9 million — the highest first-quarter figures recorded since the onset of the COVID-19 pandemic in 2020. The results represent a 58.7% increase in revenue (up KRW 117.7 billion) and a 53.2% increase in admissions (up 11.08 million) compared to the same period in 2025, powered almost entirely by the extraordinary performance of The King's Warden.Domestic Films Claim 73.4% Revenue Share on Strength of The King's WardenKorean films accounted for 73.4% of total Q1 revenue, generating KRW 233.3 billion (approx. USD 169 million) in box office and drawing 24.01 million admissions — more than double the year-on-year figures, with revenue up 117.5% (KRW 126.1 billion) and admissions up 115.1% (12.85 million). When measured against the pre-pandemic Q1 average for 2017–2019, domestic film revenue ha

July Jung Completes the Cannes Trifecta: Dora, a Korea-France-Luxembourg Co-Production, to World Premiere at Directors' Fortnight

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Poster of ‘Tristes Tropiques’' (provided by REDPETER)The Directors' Fortnight section of the 79th Cannes International Film Festival has announced July Jung's third feature film, Dora, as an official selection. Section director Julien Rejl noted that the film portrays a young woman's desire — and the passion and turmoil that follow — through a cinematic language that departs from the conventions of Korean filmmaking. Drawing on Freud's 1900 case study of a hysteria patient known as "Dora" and transposing it to a Korean coastal village, the film will have its world premiere at Cannes this May.The significance of Dora's Cannes selection comes into full relief when read against the arc of Jung's filmography. Her debut feature A Girl at My Door (2014) was invited to Un Certain Regard, Cannes' official competitive sidebar; her second feature Next Sohee (2022) closed Critics' Week, the festival's independent discovery section. Now, Dora joins the Directors' Fortnight, organized by the French

Brussels Recognized It First: Park Hun-jung's Genre Grammar Cuts Through Europe's Fantastic Film Circuit

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Poster of ‘Tristes Tropiques’' (provided by MINDMARK)Director Park Hun-jung's new film Tristes Tropiques drew international attention before its domestic release, earning recognition from two European film festivals. Last October, Spain's Sitges International Fantastic Film Festival extended an invitation, and on April 18 of this year, the Brussels International Fantastic Film Festival (BIFFF) in Belgium added a trophy.At the 44th Brussels International Fantastic Film Festival, Tristes Tropiques received the Silver Raven — the festival's Special Jury Prize in the International Competition section. The weight of the honor is amplified by the fact that it was the only Korean film invited to the International Competition this year. The jury cited "a vast worldbuilding, bold storytelling, original characters, and large-scale action sequences executed with a high level of technical craft." This was not simply praise for genre thrills. The jury's verdict was a comprehensive recognition of th

27th Jeonju IFF Opens April 29 with 237 Films from 54 Countries, Closing with Documentary on Korea's Martial Law Crisis

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Poster of ‘JIFF’' (provided by JIFF)The 27th Jeonju International Film Festival (JIFF) runs April 29 to May 8, presenting 237 films from 54 countries under this year's slogan, "Beyond the Frame." The program comprises 97 Korean titles and 140 international films, with 78 world premieres. The edition draws particular attention for its closing film selection: a documentary capturing the political upheaval that followed South Korea's short-lived martial law declaration of December 2024.The festival opens with Late Fame (USA, 2025), directed by Kent Jones and starring Willem Dafoe and Greta Lee. The film premiered in Venice's Horizons section before screening at New York, Thessaloniki, Rotterdam, and Glasgow. Programmers describe it as a fable-like work that strips away the vanity and fear lurking beneath the surface of artistic life. Jones is known for the documentary Hitchcock/Truffaut (2015) and the drama Diane (2018), the latter of which previously screened at Jeonju.Closin

Yeon Sang-ho's 'Colony' Selected for Cannes Midnight Screening as Jun Ji-hyun Returns to the Big Screen After 11 Years

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Still of 'Colony' (provided by Showbox)Yeon Sang-ho's new featureColonyhas been officially selected for the Midnight Screening section of the 79th Cannes Film Festival, marking the director's third consecutive Cannes invitation for a live-action zombie film. The film, which also marks top star Jun Ji-hyun's return to cinema after an 11-year absence, is set for domestic release on May 21, ahead of its world premiere at Cannes. U.S. trade publication Variety was first to cover the international teaser, signaling early global industry attention. North American distributor Well Go USA has since acquired the film for a theatrical release on August 28, 2026.Colonyunfolds inside a sealed high-rise building where survivors are trapped following an unidentified outbreak. What sets the film apart from conventional zombie fare is its central conceit: the infected do not act alone. Drawing on the biological concept of a "colony" -- organisms functioning as a single coordinated en

Barunson E&A to Handle International Sales for Thai Horror Film Inherit

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Cast of 'Inherit' (provided by GDH 559)The production company behind Parasite, Barunson E&A, is joining the international sales effort for Thai horror film Inherit, targeting markets across North America, Europe, Latin America, and the Middle East.Inherit is based on Tayat Asun, a classic Thai horror novel published in 1991, and follows the story of an ancient centipede spirit that infiltrates a wealthy family. The film is directed by Banjong Pisanthanakun, who launched a golden era of Thai horror with Shutter in 2004 and made history in 2013 with Pee Mak, the first Thai film to surpass 10 million admissions at the domestic box office. The production company, GDH 559, also has strong international credentials: its 2024 release How to Make Millions Before Grandma Dies grossed approximately $73.8 million (approx. KRW 110.05 billion) worldwide and became the first Thai film to earn an Academy Award nomination for Best International Feature Film. The lead actress, Davika Hoorne, appea

Asian Film Alliance Network Seeks Researchers and Legal Firms to Chart Path Toward Formal Institution

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⏰ Call for Applications — Key InformationStudy TopicFeasibility Study for AFAN's Transition to a Legal EntityEligible ApplicantsLead Researcher(s) / Legal FirmApplication DeadlineMay 3, 2026Selection AnnouncementJune 2026Secretariat Contacthello@afanconnect.asiaTerms of Reference (TOR)Available upon request to the secretariat⚠️ Deadline Approaching: With only about two weeks remaining until the application deadline, interested researchers and legal firms are strongly encouraged to contact the secretariat promptly.The Asian Film Alliance Network (AFAN), a strategic alliance of eight national film agencies across Asia, has officially opened applications for a feasibility study on its transition into an independent legal entity. In a call published in April, AFAN announced it is inviting qualified Lead Researchers and Legal Firms to conduct the comprehensive study. The application deadline is May 3, 2026, with selected candidates to be announced in June. The initiative m

KOFIC Screens Accessible Version of The King's Warden Nationwide in Honor of Disability Awareness Day

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The King's Warden screened in accessible "Gachibom" format at 79 theaters nationwide from April 6–17 Subtitles and audio description provided to improve cinema access for audiences with disabilities Simultaneous nationwide rollout expected to help bridge regional access gaps and advance inclusive screening initiatives The Korean Film Council (KOFIC, Chairman Han Sang-jun) expanded cinema access for audiences with disabilities by screening the Gachibom version of The King's Warden at 79 theaters across the country from Monday, April 6 through Friday, April 17.The screenings were part of a cultural accessibility initiative organized in conjunction with Disability Awareness Day (April 20). The Gachibom version — featuring integrated subtitles and audio description — was designed to allow audiences with hearing and visual impairments to follow and engage with the film more fully. By selecting The King's Warden, the highest-grossing domestic release in South Korean box office hi

South Korea Approves Record KRW 65.59 Billion Emergency Supplementary Budget for Film Industry

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South Korea's National Assembly has approved a record-breaking KRW 65.59 billion (approx. USD 47.5 million) supplementary budget dedicated to the film sector — the largest emergency film allocation in the country's history. Passed in the first supplementary budget session of 2026 on April 10, the funding targets two strategic fronts: reigniting domestic audience engagement and reinforcing the production pipeline across budget tiers. The Korean Film Council (KOFIC), under Chairman Han Sang-jun, will oversee rapid disbursement of the funds across four programs designed to stabilize the industry's ecosystem. Audience Activation: KRW 27.1 Billion in Ticket Discounts A newly established audience incentive program will allocate KRW 27.1 billion (approx. USD 19.6 million) to support a nationwide ticket discount scheme across all cinemas. Under the program, a KRW 6,000 discount will be applied per ticket, with 4.5 million discounted admissions to be distributed across t

Hong Sangsoo's 34th Feature The Day She Returns to Open in Korean Theaters This May

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Poster of ‘The Day She Returns’ (provided by Jeonwonsa Film)In Europe, Hong Sangsoo is celebrated as "a master of contemporary cinema who says the most with the least." Yet that same minimalism has consistently underperformed at the domestic box office. Against this backdrop, his 34th feature, The Day She Returns, is set to open in Korean theaters on May 6.The film had its world premiere at the Panorama section of the 76th Berlin International Film Festival in February 2026. Running 84 minutes in black and white, it follows a single day in the life of a former actress — who spent twelve years away from the screen after marriage — as she returns to independent film following a divorce. In the film, the actress gives three interviews after her comeback, then attempts to re-enact their content in an acting class. Words that flowed naturally during the interviews refuse to come back to her in reconstruction. Hong's signature long-takes and zoom technique orchestrate the rhythm of conversat

Six Korean Films Selected for Competition at Udine Far East Film Festival

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Main Invited Films of the 28th Udine Far East Film FestivalSix Korean films are among the 52 titles from 12 countries selected for the competition lineup of the 28th Udine Far East Film Festival (Far East Film Festival), running April 24 to May 2 in Udine, Italy. The Korean entries include The King's Warden — a period drama that has surpassed 16 million domestic admissions to rank third all-time at the Korean box office — the Jeju April 3 Uprising drama My Name, and the documentary The Seoul Guardians, which captures the frantic scene of South Korea's martial law declaration in December 2024. What is particularly striking about this lineup is the thematic thread running through three of the six selected films. All three draw on pivotal moments in Korean history and translate them into narratives capable of resonating with broad audiences. The King's Warden reconfigures the weighty history of King Danjong's dethronem

Bong Joon-ho's First Animated Feature Ally Set for 2027 Release

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Still of ‘Ally’ (provided by CJ E&M)Seven years in the making and shrouded in quiet secrecy, Ally — director Bong Joon-ho's first animated feature — finally surfaced on April 3, 2026. What began in 2019 as a discreet passion project has grown into what may become a pivotal moment in Korean cinema's expansion beyond live-action: a family adventure set in the deep sea, centered on a baby piglet squid venturing up toward the world above. The production budget is approximately 70 billion KRW (approx. USD $48 million), making it the most expensive Korean-produced film in history. The film's artistic foundation draws from French marine conservationist Claire Nouvian's acclaimed deep-sea photography book Abysses. The screenplay was co-written by Bong Joon-ho and director Yoo Jae-sun. What distinguishes Ally is its production structure. CJ ENM and Pencer Invest co-invest and handle distribution alongside French major studio Pathé, with Barunson C&C overseeing overal

From Concert Halls to Cinema Screens: CJ 4DPlex Expands Into Narrative Film Sales

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CI of CJ 4DPlex (provided by CJ 4DPlex)Buyers visiting the CJ 4DPlex booth at Hong Kong Filmart this past March were met with something unexpected: not the familiar K-pop concert footage, but a single new title — OK! Madam: Bon Voyage, an action comedy starring Uhm Jung-hwa and Park Sung-woong. It marked the first time CJ 4DPlex had brought narrative film rights to an international market.A CJ Group affiliate, CJ 4DPlex is best known as a premium exhibition technology company behind the 4DX and ScreenX formats. The company operates 1,245 screens across 74 countries worldwide, and in 2025 recorded a combined global box office of $497 million (approximately KRW 757 billion) across its formats. Its foray into content distribution began in 2023, when it began handling concert films and music documentaries by global acts including BTS, ENHYPEN, and Linkin Park — optimized for 4DX and ScreenX — thereby building a sales network of theater partners and distributors arou

KOFIC Selects 16 Films for 2026 Mid-Budget Korean Film Production Support Program

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Launched by KOFIC in 2025, the Mid-Budget Korean Film Production Support Program was designed to address the contraction in investment and production brought on by the post-COVID box office slump and growing polarization in commercial performance. The program aims to stimulate the production of mid-budget feature films (live-action narrative features with net production costs between KRW 2 billion and KRW 10 billion) and to build a sustainable industry cycle through revitalized private investment. This year, KOFIC doubled its support budget to approximately KRW 20 billion (approx. USD 14.5M) compared to the previous year and introduced dedicated quotas for emerging directors and international co-productions, reflecting policy goals to strengthen Korean cinema's creative pipeline while expanding its global footprint.

Korean Horror Film App The Horror Secures Theatrical Distribution Deals Across Key Southeast Asian Markets

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Still of ‘App The Horror’ (provided by AppleTV)Most Korean horror films released in recent years have drawn between 50,000 and 70,000 admissions. Yet one film managed to surpass 100,000 admissions despite the limitations of a CGV-exclusive release. That film is App The Horror, an omnibus horror directed by six emerging filmmakers.What demands attention goes beyond its domestic performance. At the 2026 Hong Kong FILMART (March 17–20), App The Horror concluded theatrical distribution agreements for Malaysia, Vietnam, Cambodia, and Taiwan, with further negotiations underway for Japan, the Philippines, Thailand, and Indonesia.App The Horror follows the horror that ensues when "Young" — a ghost-detection app developed by high school students — installs itself randomly on the smartphones of ordinary people, gradually consuming their daily lives. For international sales, the film adopted a dual-agency model: Hong Kong-based Autumn Sun handles rights for Asia and Russia, while newly est

Lim Da-seul's Tongue Wins SXSW Midnight Short Competition — A First for Korean Cinema

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Still of ‘Tongue’ (provided by BIFAN)The wife in the film does not say a single word. While her husband's ceaseless talk fills the room, the camera follows only the gaze of the silent woman. This "wordless film" has won the top prize at the Midnight Short Competition of South by Southwest (SXSW) — the first Korean film ever to do so. The film in question is Tongue, a horror-comedy directed by Lim Da-seul. Now in its 33rd edition in 2026, SXSW is one of the world's largest multidisciplinary arts festivals, merging film, music, and interactive (technology) programming in Austin, Texas. The Midnight Short Competition is the section dedicated to genre films including horror and dark comedy. Tongue became both the first Korean film to be selected for this section and the first to win its top prize. The jury composition is equally noteworthy. The panel comprised Rebekah McKendry, Professor of Cinematic Arts at the University of Southern California; Adam Hendricks, Co-Fou

Episode Company Eyes Global Animation Reboot of 200 Pounds Beauty

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Still of ‘200 Pounds Beauty’ (provided by Kobiz) Episode Company (formerly Carriesoft) announced on March 23 that it has secured the license for 200 Pounds Beauty and plans to reboot the property as a music- and character-driven global animated series — nearly two decades after the original film drew 6.6 million admissions in 2006. The animated adaptation will reimagine Hanna, the shadow singer who lent her voice to a lip-syncing pop star in the original film (played by Kim Ah-joong), as a globally resonant icon, expanding the story universe with new characters. Analysts have noted that the project appears to follow the commercial blueprint demonstrated by KPop Demon Hunters — a formula built on the convergence of music, animation, and IP-driven commerce. 200 Pounds Beauty was remade in Vietnam in 2018 and has toured as a stage musical across Japan and China. Its signature OST "Maria" continues to accumulate international views on YouTube. These factors suggest tha

Korea Writes, Hollywood Stars: Protector Signals the Dawn of 'K-Hollywood'

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Poster of ‘Protector’ (provided by Ascendio) Protector, starring Milla Jovovich and released in South Korea on March 25, is turning the conventional model of U.S.–Korea co-productions on its head. The film's screenplay, casting, investment, and distribution were driven by Korean companies — including Aanaxion Studio and Blossom Entertainment — while American actors and crew were brought on board for production, which was completed in New Mexico. The film opened in the United States first (March 6, on approximately 1,007 screens) before its domestic Korean release followed. If past U.S.–Korea co-productions were largely defined by "Hollywood capital and vision, with Korean talent in supporting roles," Protector reverses that equation entirely. From a Korean Script to a Hollywood Cast The project began with Moon Bong-seop, head of Aanaxion Studio and the film's screenwriter, whose career was built in the Korean film industry (Chungmuro). The project gained real momentum in

KAFA Becomes First Korean Film Institution to Launch AI Guidelines Tailored for Creative Education

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The Korean Film Council (KOFIC, Chairperson Han Sang-jun) and its Korean Academy of Film Arts (KAFA, President Cho Geun-sik) have announced the launch and implementation of the Guidelines for the Use of Generative AI in Creative Education. While universities across South Korea have previously issued general AI usage policies, KAFA's guidelines mark the first instance of a domestic film education institution establishing a framework specifically tailored to the field of film and creative arts education.The guidelines are designed to respond to the growing integration of generative AI tools across all stages of film production. Their overarching aim is to enable KAFA students to explore and embrace emerging technologies while preserving what the institution calls the "filmmaker's unique voice" and a distinctly cinematic sensibility.The framework is built on three foundational principles. The first, Creative Agency, establishes that AI functions solely as an assistive to

From 'K-Pop' to 'K-Kick': Ten-Million Director Yoon Je-kyoon's Hollywood Gambit

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Yoon Je-kyoon (provided by CJ ENM)When Korean directors go to Hollywood, a familiar trajectory tends to come to mind: Bong Joon-ho's Academy sweep with Parasite followed by a partnership with Warner Bros.; Park Chan-wook parlaying the prestige of Oldboy into Stoker. Call it the arthouse route. Yoon Je-kyoon — the director behind Tidal Wave and Ode to My Father, both of which surpassed ten million admissions — is now attempting to board that same train, but with taekwondo as his ticket. Trade outlet Variety and others have reported that Yoon will make his Hollywood entry with the film Belladonna. Unveiled at Hong Kong FilMart on March 17, Belladonna is set to become Yoon's first English-language directorial work. The film follows a former contract killer who has rebuilt her life running a flower shop in Seoul, only to be dragged back into the world she thought she had left behind when a figure from her past resurfaces. The lead role has been cast with Taemi (Kim Gyeong-suk

The King's Warden Takes North America: How "the Most Korean Story" Is Crossing Borders

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Poster of ‘The King's Warden’ (provided by KOBIS) For years, the received wisdom in the Korean film industry has been that overseas success requires genre universality—that international audiences reach first for the culturally accessible: zombie survival like Train to Busan, or class-war thrillers like Parasite. A film is now challenging that formula. Set in 1457 Joseon at Cheongnyeongpo, The King's Warden tells the story of a deposed boy-king (Park Ji-hoon) and a village headman (Yoo Hae-jin)—and it is doing so before audiences on two continents. Since its domestic release on February 4, The King's Warden has surpassed 14 million admissions as of March 20, making it the fifth highest-attended film in Korean cinema history. It is the first film to cross the ten-million mark since The Roundup: Punishment two years ago and has overtaken 12.12: The Day (13.12 million) as the most-watched Korean film of the 2020s. Crucially, the momentum has not stopped at Korea's borders. F

KPop Demon Hunters Sequel Confirmed — Directors Maggie Kang and Chris Appelhans to Return

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Still of ‘KPop Demon Hunters’ (provided by Netflix) On March 13, 2026, Netflix officially announced a sequel to its animated film KPop Demon Hunters, targeting a 2029 release. Original directors Maggie Kang and Chris Appelhans are both set to return for the follow-up. Built on the unprecedented achievements of being Netflix's most-watched film of all time and a double Oscar winner (Best Animated Feature and Best Original Song), the Korean cultural narrative at the heart of KPop Demon Hunters has secured its place not as a one-time hit, but as a core asset of a global franchise.

KOFIC Signs Four-Way Partnership to Build AI Talent Pipeline for Film and Media Industry

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The Korean Film Council (KOFIC; Chairman Han Sang-jun) signed a memorandum of understanding on March 24 with MBC C&I (President Do In-tae), the Busan Film Commission (BFC; Steering Committee Chairman Kang Sung-gyu), and the Bucheon International Fantastic Film Festival (BIFAN; Executive Director Shin Chul) to advance AI talent development across the film and media industry. The signing ceremony took place at the Busan Film Commission.The agreement was prompted by the need to respond to rapidly shifting conditions in the film and media sector and to expand AI-driven content talent development and industry collaboration. Recognizing in particular the urgency of cultivating AI creative professionals at the regional level, the four institutions — each with existing AI education initiatives — will establish a coordinated framework for joint training and research and development. Under the MOU, the partners have committed to cooperation across three areas: developing AI film

KOFIC Joins Barrier-Free Cultural Initiative Pilot, Bringing Seniors into Accessible Film Production

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The Korean Film Council (KOFIC, Chair Han Sang-jun) participated in the launch ceremony of the "Barrier-Free Cultural Companionship" pilot program on March 16 at the Jinju Pyeonggeo Community Social Welfare Center, reaffirming its commitment to expanding cinema access for people with disabilities. Attendees included KOFIC's Center for Fair Growth Director Lee Eui-jun, Korea Deaf Association Deputy Director Yun Yo-seop, Media Center Naeil Secretary-General Jeong Hyeon-a, Korea Senior Human Resources Development Institute Gyeongnam Regional Headquarters Deputy Director Kim Se-hui, and Jinju West Senior Club Director Park Gi-sun."Barrier-Free Cultural Companionship" is a pilot program led by the Korea Senior Human Resources Development Institute's Gyeongnam Regional Headquarters, with plans for nationwide expansion following the 2025 pilot phase. The program draws on the experience and skills of senior participants through the Jinju West Senior Club to support cultural activit

Busan Joins the A-List: FIAPF's Top Tier

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Official logo of BIFF (provided by BIFF) The Busan International Film Festival has officially joined the ranks of Cannes, Berlin, and Venice. In March 2026, the International Federation of Film Producers Associations (FIAPF) designated BIFF as an "A-List" festival under its newly introduced certification framework — making it the only Korean film festival to receive the top-tier designation, granted to just 17 of the 49 FIAPF-accredited festivals worldwide. The Data Behind BIFF's Recognition The recognition comes amid a sweeping overhaul of FIAPF's classification system. The federation has retired its longstanding practice of categorizing festivals based solely on whether they hold a competition section. In its place, FIAPF has introduced a new evaluation framework assessing two years of data across four criteria: programming capability, industry-related activities, media and publicity impact, and audience reach. The reform marks the most significant restructuring of the

Yoon Ga-eun's The World of Love Officially Selected for Beijing International Film Festival

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Poster of ‘The World of Love’ (provided by Barunson E&A)Since the imposition of the hallyu ban (限韓令) in 2016, the door to the Chinese market has been widely considered closed. Official screenings of Korean films in China became virtually impossible, and institutional channels such as intergovernmental agreements and co-production frameworks rarely functioned. Yet recently, director Yoon Ga-eun's film The World of Love has come knocking on that door. The Beijing International Film Festival (BJIFF) has officially invited the film to screen in its Panorama section on April 16. The World of Love previously made a strong showing at the 9th Pingyao International Film Festival in 2025, taking home two awards: the Roberto Rossellini Jury Award and the People's Choice Award. Receiving both the jury prize and the audience award simultaneously signals that The World of Love is a film that unites artistic merit with broad appeal. In the film, Lee Jooin (played by Seo Su-bi

A New Voice in Korean Horror: Lee Sang-min's Feature Debut Salmokji Set for April Release

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A filmmaker who earned his stripes on the short film circuit is now bringing Korean horror to the commercial multiplex. Salmokji, the feature debut of director Lee Sang-min, is set to open in Korean theaters on April 8, distributed by Showbox. The cast and director unveiled the project at a press presentation held on March 4 at CGV Yongsan iPark Mall in Seoul. Born in 1995, Lee previously directed the segment "Goseonghaeng" in the omnibus horror App the Horror: Young (2026) and won awards at the Chungmuro Film Festival and Busan International Short Film Festival for his short work. Salmokji marks his first solo feature. The film's premise takes root in the digital everyday. When an unidentified figure is captured in a street-view image of Salmokji reservoir, a filming crew sets out to reshoot the location — only to encounter something lurking in the dark water. Lee has described the concept as springing from a personal habit: bro

BEEF Returns for Season 2 with Youn Yuh-jung and Song Kang-ho, Premiering April 16 on Netflix

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Still of ‘BEEF Season 2' (provided by Netfilx) BEEF, the Netflix and A24 co-production that swept eight Emmy Awards in 2023, returns for its second season on April 16 with Academy Award winner Youn Yuh-jung and Cannes Best Actor winner Song Kang-ho in pivotal roles. The casting of two of Korean cinema's most internationally decorated performers in a Korean-American creator's U.S. series signals a new chapter in the global trajectory of Korean film talent.

Kim Dong-ho at 88: A Lifelong Champion of Cinema Steps Behind the Camera

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Kim Dong-ho (provided by PlusM) In late February, two pillars of Asian cinema came face to face at Euro Space, a beloved arthouse theater in Tokyo. Hirokazu Kore-eda, the celebrated Japanese director, met with Kim Dong-ho, the former executive director of the Busan International Film Festival — a man long regarded as the godfather of Korean cinema's global rise. The occasion was the Tokyo screening of Mr. Kim Goes to the Cinema, Kim's debut feature documentary, selected as an invited work at the Korea-Japan Community Cinema Festival. For decades, Kim Dong-ho has been the architect behind Korean cinema's international presence, opening doors for directors such as Bong Joon-ho, Park Chan-wook, and Lee Chang-dong at the world's most prestigious film festivals. That this same man — now 88 years old — has picked up a camera for the first time makes Mr. Kim Goes to the Cinema something far more than a story of late-in-life reinvention. The film is the product of ro

"What Are We to Each Other?" : 2026 KAFA Graduation Film Festival Opens March 13

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The Korean Academy of Film Arts (KAFA), operating under the Korean Film Council (KOFIC; Chair Han Sang-jun), will hold its 2026 KAFA Graduation Film Festival from Friday, March 13 through Sunday, March 15 at Megabox Sinchon in Seoul, followed by a screening on Saturday, March 21 at the KOFIC Headquarters Standard Screening Room in Busan. The festival will showcase 34 short and feature-length films, including animated works produced through KAFA's various educational programs.Last year's festival drew significant international attention when the short film First Summer (Regular Program, Class 42, dir. Heo Ga-young) went on to win the top prize in the La Cinef section at the 2025 Cannes Film Festival — the first Korean film to receive the honor. This year's edition continues that tradition of spotlighting Korea's next generation of filmmakers.Slogan: "What Are We to Each Other?"The festival's theme reflects on the relationships formed between a film and its audien

HUMINT Builds Long-Tail Momentum on the Strength of Middle-Aged Audiences

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Post of ‘HUMINT' (provided by NEW) Ryoo Seung-wan's spy action film HUMINT has surpassed 1.61 million admissions as of February 23 — just two weeks into its theatrical run — while holding steady at number two on the Korean box office. What stands out is not the pace of ticket sales, but who is buying them. According to booking data from Lotte Cinema, audiences in their 50s account for 30.8% of admissions, followed by those in their 40s at 27.0%, meaning the 40–50 age bracket makes up more than half of the film's total viewership. CGV data tells a similar story, with 40s at 27% and 50s at 20%. Given that Korean cinemas have been largely driven by audiences in their 20s and 30s in recent years, these figures are striking. Industry observers largely attribute this to a gap in the market. Korean cinemas have seen audience preferences consolidate around family dramas, comedies, and Japanese animation, leaving a shortage of high-quality genre films. HUMINT landed s

Independent Cinema Beyond the Theater: Community Screenings and Youth Film Education Open New Pathways

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Indieground — established by the Korean Film Council (KOFIC, Chair Han Sang-jun) to improve the distribution and circulation environment for Korean independent and art-house cinema — is expanding its free support programs for community screenings and educational screenings of independent films.Indieground has long championed "community screenings", an alternative cultural practice in which audiences take the lead in organizing their own film events and building direct dialogue with filmmakers. Last year alone, the organization partnered with 81 groups nationwide, facilitating 196 screenings and 25 director-attendance events, reaching approximately 2,000 audience members. Of particular note, the initiative found strong resonance in regions with historically limited access to independent cinema — including Busan, Gangwon Province, and Mokpo — transforming cafés, bookstores, and community halls into genuine cinematic spaces.This year, Indieground is continuing that suppo