Korean Film Biz Zone - Korean Film News

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

20260424

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

20260422

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

20260420

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

20260420

⏰ 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

20260420

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

20260420

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

20260417

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

20260415

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

20260413

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

20260410

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

20260409

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

20260408

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

20260406

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

20260403

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'

20260401

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

20260401

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

20260330

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

20260327

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

20260325

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

20260325

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

20260325

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

20260323

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

20260320

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

20260318

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

20260316

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

20260313

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

20260313

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

20260311

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

20260311

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

The Return of 'Cannes Park': What Park Chan-wook's Appointment as Jury President

20260309

Park Chan-wook (provided by CJENM) Steven Spielberg, Martin Scorsese, the Coen Brothers, Robert De Niro, Wong Kar-wai — the list of past Cannes jury presidents reads like a condensed history of twentieth-century world cinema. In 2026, a Korean name joins that lineage for the first time. On February 26, the Cannes Film Festival announced that Park Chan-wook will serve as jury president of the 79th edition's main competition. It marks the first time a Korean filmmaker has held the position responsible for selecting the Palme d'Or winner — and the first Asian filmmaker to chair the jury since Wong Kar-wai did so in 2006, twenty years ago. In a joint statement, Festival President Iris Knobloch and General Delegate Thierry Frémaux said: "Park Chan-wook's inventiveness, visual mastery, and penchant for capturing the multiple impulses of women and men with strange destinies have given contemporary cinema some truly memorable moments. We are delighted to celebrate his imme

KOFIC Launches Naming Contest for Its Official Web Magazine

20260309

The Korean Film Council (KOFIC, Chair Han Sang-jun) has announced a public naming contest for its official web magazine, currently titled Korean Film, marking the first step in a broader editorial and digital relaunch planned for 2025.Submissions are open from Tuesday, March 3 through Thursday, March 12, with the winning name to be announced on March 31. The contest is open to all readers of the web magazine.The existing title, Korean Film, has long functioned more as a generic descriptor than a distinctive brand identity. KOFIC cites two key limitations: the title's poor searchability on major Korean web portals, and its inability to differentiate the publication from other commercial film magazines in the market. As the sole institutional journal dedicated exclusively to Korean cinema, KOFIC aims to use the renaming as an opportunity to assert a clearer editorial identity and sharpen the magazine's competitive profile.The contest brief calls for submissions that are

Korean Entertainment Leaders Identify Four Key Trends Shaping 2026: Short-Form, AI, OTT Consolidation, and Co-Productions

20260306

Still of ‘Hope' (provided by Plus M Entertainment Korea's screen content industry enters 2026 in a state of sober self-reflection. In Cine21's annual entertainment industry outlook survey — now in its sixth year — 51 leaders from investment, distribution, production, and talent management companies have delivered a candid collective diagnosis: years of deepening recession have pushed the ecosystem to a structural turning point. Against that backdrop, the survey maps out four defining trends for the year ahead, alongside the titles and talents the industry is watching most closely. Four Keywords: Short-Form, AI, OTT Consolidation, International Co-Productions Short-form content appears on the radar for the third consecutive year, having graduated from experiment to established market. Dedicated short-form streaming platforms are proliferating beyond YouTube Shorts and TikTok, and major players traditionally rooted in theatrical distribut

Netflix Confirms Rom-Com ‘Messily Ever After’ with 'Pachinko' Duo Kim Min-ha and Noh Sang-hyun

20260304

Still of ‘Pachinko' (provided by AppleTV+) Netflix officially announced on February 23 the greenlight of romantic comedy film Messily Ever After, with Kim Min-ha and Noh Sang-hyun confirmed as leads. The two actors previously starred together as a married couple in Apple TV+'s Pachinko, making their reunion a natural talking point. The project also marks a new addition to Netflix's growing Korean romance lineup, which has included A Wonderful Story, 20th Century Girl, and This Love Needs a Star. Messily Ever After centers on a couple who met as art school classmates and have been together for ten years — loving each other fiercely and fighting just as hard. Kim Min-ha plays Suhyeon, a curator who chases perfection in her career but unravels completely when it comes to love and jealousy. Noh Sang-hyun plays Hyuntae, an installation artist with an uncompromising artistic vision. The push-and-pull between their contrasting personalities is set to drive

Korean Box Office Holds the Line as Domestic Films Struggle and Premium Formats Surge in 2025

20260304

South Korea's total box office revenue reached KRW 1.047 trillion in 2025, a 12.4% decline from the previous year, with total admissions of 106.09 million — down 13.8% year-on-year. While the market has now sustained the KRW 1 trillion / 100 million admissions threshold for four consecutive years since 2022, the consecutive annual declines signal that recovery from pandemic lows has plateaued.The first half of the year was particularly sluggish. Mission: Impossible – The Final Reckoning and domestic thriller Yada-ng each attracted approximately 3.3 million admissions — well below blockbuster benchmarks. The market only regained momentum from late July onwards, triggered in part by a government-subsidized ticket discount campaign, before a stronger second half steadied the annual totals.Korean films generated KRW 419.1 billion in box office revenue in 2025 — a steep 39.4% decline from the prior year — as admissions for domestic titles fell 39.0% to 43.58 million. Korea

Crystal Bear Winner It's Okay! Set for Japanese Theatrical Release on April 10

20260302

Still of ‘It's Okay!' (provided by TWOMEN FILM) Korean family film It's Okay! is set to open at Shinjuku Piccadilly, one of Japan's premier cinema venues, on April 10. The release is co-distributed by NIKKATSU, a major player in the Japanese film industry, and telecommunications giant KDDI. The film's path to Japanese distribution has a clear origin point. In February 2024, It's Okay! won the Crystal Bear for Best Film in the Generation Kplus section at the 74th Berlin International Film Festival — the first time a Korean film had claimed the award in this category. The Generation Kplus section is distinctive in that children and young audiences aged four and above serve as jury members themselves. The win signals that the film resonated deeply with culturally unfamiliar audiences without relying on critical framing or social context to bridge the gap. Set against the backdrop of the Seoul International Arts Troupe, the film foll

‘Once We Were Us’ Signals the Revival of Romance Cinema with 9-Country International Rollout

20260227

Still of ‘Once We Were Us' (provided by Showbox)"Romance no longer works in theaters." This became the industry consensus in Korean cinema after the late 2010s. Between the rise of OTT platforms, shifting audience preferences, and the COVID-19 pandemic, the melodrama genre gradually disappeared from theatrical releases. Since Very Ordinary Couple drew 2.92 million admissions in 2019, no Korean romance film had crossed the 2-million mark—until now. Enter Once We Were Us, starring Koo Kyo-hwan and Moon Ga-young. Released on December 31, the film broke even within 13 days (reaching its 1.1 million admission break-even point), held the box office crown for three consecutive weeks, and has now surpassed 2.5 million admissions domestically. Beyond Korea, Once We Were Us has been sold to nine territories including Taiwan, Singapore, North America, Japan, Indonesia, Vietnam, and Malaysia, with releases rolling out sequentially across these markets. The film follows

KOFIC Unveils 2026 Support Programs: Bigger Budgets, New Frontiers in AI and Co-Production

20260227

The Korean Film Council (KOFIC) has announced its major support program guidelines for 2026, rolling out a significantly expanded funding package designed to help the domestic film industry recover from prolonged post-pandemic challenges. The revamped programs reflect a dual focus: shoring up the mid-budget production sector that has struggled most acutely in recent years, while opening new pathways in AI-assisted filmmaking and international co-production.Mid-Budget Production Support Doubles to ₩20 BillionThe flagship change is a doubling of the mid-budget Korean film production support fund — from ₩10 billion in 2025 to ₩20 billion (approximately USD 14.5 million) in 2026. The program now targets projects with net production budgets between ₩2 billion and ₩10 billion, with per-project support capped at the lower of 40% of net production costs or ₩2.5 billion.Two structural reforms stand out. First, KOFIC is introducing a quota requiring that at least 30% of selected proj

Netflix's First 2026 Korean Film 'Pavane' Bets on Pure Youth Romance Over Action

20260225

Still of 'Pavane' (provided by Netflix) Netflix's first Korean film release of 2026 was neither a crime thriller nor an action blockbuster—it was a youth romance. 'Pavane,' which premiered globally on February 20, tells the story of three young people scarred by society's obsession with appearance who become light in each other's lives. While Korean films that have gained traction on Netflix typically feature strong genre elements like thriller, action, disaster, or crime with fast-paced narratives appealing to global audiences, 'Pavane' represented an unusual choice—one that focuses on emotional arcs and character development. As Netflix marked its 10th anniversary in Korea with promises of competitive content, the film carried the weight of being the year's first release, testing whether Korean youth melodrama can resonate with global audiences. 'Pavane' is based on novelist Park Min-gyu's 'Pavane for a Dead Princess.' The original novel, published in 2009, garnered att

'Even If This Love Disappears' Tops Netflix Korea in Opening Week

20260223

Still of 'Even If This Love Disappears from the World Tonight' (provided by VIVO M Studio) Shin Si-ah-led youth romance "Even If This Love Disappears from the World Tonight" (Korean title: "Oseisa") claimed the No. 1 spot in Netflix Korea's non-English films category and No. 2 globally in its first week, extending its success from theaters to streaming. The film, which opened during the Christmas season last December and attracted 860,000 admissions while surpassing its break-even point, has now reached audiences in 64 countries through Netflix, demonstrating the global appeal of Korean youth romance. From Theatrical Success to Global Streaming According to Netflix on the 11th, "Even If This Love Disappears" recorded 7.8 million views during the week of February 2-8, which included its February 4 release date, ranking No. 1 in Korea and No. 2 globally in Netflix's Top 10 non-English films category. The film's entry into the Top 10 in 64 countries worldwid

Cultivating the Future of Independent Cinema Distribution

20260223

Indieground, established by the Korean Film Council (KOFIC, Chairman Han Sang-joon) to strengthen the distribution infrastructure for Korea's independent and art-house cinema, is now accepting applications for the 7th cohort of its Distribution Academy from March 3rd (Tuesday) through March 18th (Wednesday).Launched in 2021, the Distribution Academy is an annual educational program designed to nurture specialized professionals in the independent and art-house film sector. Last year's 6th cohort drew 228 applicants, demonstrating strong industry interest. Fifteen participants were ultimately selected and completed the program. To date, a total of 89 graduates have joined the film industry workforce, contributing their expertise across distribution companies, PR and marketing agencies, film festivals, and various other sectors. The program's steadily increasing employment rate continues to validate its effectiveness.The 7th cohort will feature an enhanced curriculum wit