Korean Film Biz Zone - Korean Film News

Son Koo-yong: The Director Who Steps Back — Five Films at the 14th Muju Film Festival

20260624

Korean cinema has been the talk of Cannes this year. Park Chan-wook served as the Jury President of the festival; Bong Joon-ho returned to the market with an animated work-in-progress film; and three Korean auteurs competed in Directors' Fortnight, Midnight, and the Palme competition, respectively: July Jung's muted dramaDora(2026), Yeon Sang-ho's latest zombie thriller,Colony(2026), and Na Hong-jin's genre-bending sci-fi thriller,Hope(2026).

Berlin Saw It First. Netflix Brought It Back.

20260622

Poster of ‘It's Okay’ (provide by by4m studio) A film that drew just 110,000 admissions in theaters is now ranking among Korea's most-watched titles on Netflix.It's Okay!, the feature debut of director Kim Hye-young, has held a place in Netflix Korea's Top 10 movies chart since its platform release on May 29 — a second life arriving some fifteen months after the film quietly left cinemas. With a break-even point of around 1.5 million admissions,It's Okay!had been written off as a commercial disappointment. Now it is finding the audience it never had. A Human Drama Rooted in Korean Traditional Dance The film follows In-yeong (Lee Re), a high school student left alone after losing her mother, who unexpectedly ends up sharing a home with Seol-ah (Jin Seo-yeon), the exacting director of a national arts company. Rather than plot twists or dramatic confrontations,It's Okay!stays close to its characters — their loneliness, their gaps, their gradual

Korea's Box Office Stages Its Strongest Post-Pandemic Recovery -- But the Hard Questions Remain

20260619

Moviegoers walk past a digital billboard promoting director Yeon Sang-ho’s latest movie “Colony” at a theater in Seoul, May 25 (provide by Newsis)After years of painful contraction following the COVID-19 pandemic, South Korea's film industry is showing the clearest signs of recovery yet. A succession of local box office hits in early 2026 has restored momentum in theaters and reignited confidence across the industry -- though questions about whether the rebound can be sustained remain very much open.According to data from the Korean Film Council (KOFIC), domestic theaters drew 31.9 million admissions in the first quarter of 2026, up 53.2 percent year-on-year. Total box office revenue rose 58.7 percent to 318 billion won (approximately $211 million USD). Korean films drove much of that growth, generating 233.3 billion won in ticket sales and attracting 24.01 million viewers -- more than double the figure from the same period a year earlier.At the center of the rebound is "The King's War

Connecting Creation and Distribution: "First Link" Independent Film Matching Workshop Opens Call for Submissions

20260618

Indieground, established by the Korean Film Council (Chairman Han Sang-jun; hereinafter KOFIC) to improve the distribution environment for Korean independent and art-house films, is now accepting submissions for its sixth annual business matching program, the "Independent Film Matching Workshop: First Link."First Link is a business matching program that connects newly completed independent films without confirmed distributors to distribution and sales professionals. To expand distribution opportunities for independent filmmakers, the program offers a range of initiatives including 1-on-1 business meetings, practice-oriented workshops, and in-kind support.This year's call is open to Korean feature-length independent films completed after January 2025, or those expected to be finished within 2026. Films without a confirmed distributor are eligible to apply regardless of genre — fiction, documentary, animation, or experimental. Films that first applied to First Link thre

South Korea's BIFAN Turns 30, Unveiling AI Competition, Short-Form Strand, and Star-Studded International Lineup

20260617

Still of ‘Obsession’ (provide by Focus Features) The Bucheon International Fantastic Film Festival (BIFAN) marks its 30th edition under the banner "NEW ERA NEW SKIN," unveiling its largest-ever program: 321 titles from 50 countries, comprising 170 features, 85 shorts, 38 AI films, and 28 XR works, with 93 world premieres. The festival runs July 2-12 across multiple venues in Bucheon, just west of Seoul. Executive Director Shin Chul set the tone at the press conference: "If 1997 -- the year BIFAN was founded -- marked the beginning of the Korean film industry's renaissance, we are now at another monumental inflection point." He pledged that the festival would become "a forward base for discovering creators prepared for the age of AI and streaming." Organizing Committee Chair Jang Mi-hee framed the edition around "imagination that breaks boundaries," underscoring the festival's ambition to show how AI and emerging technology can fuse with cinematic vision.The flags

Korea's First Full AI Feature Film Raphael Makes International Debut at Cannes Marché du Film

20260615

Poster of ‘Raphael’ (provided by Mateo AI Studio)On May 18, Raphael, South Korea's first full AI-generated feature film — co-directed by Yang Ik-june, Moon Sin-woo, and Jung Ju-won — made its international debut at the Cannes Marché du Film. Director Yang Ik-june presented approximately five minutes of footage at an official Kling AI conference session, offering the first public look at a project that reimagines what a small team can produce: a film that, had it been shot on conventional live-action, would have required hundreds of crew members and a production budget of up to $2 million USD — achieved here by a team of just seven, using AI.Also on the panel were American director Jon Erwin, known for the Amazon Prime Video series The Old Stories: Moses, and Chinese animation director Wei Li. The global session focused on real-world AI filmmaking workflows, and Raphael was presented as a Korean case study.The project traces its origins to the 2024 New Media New Technology Lab, a progra

Korea Launches Task Force to Settle Theatrical Holdback Debate, Eyes August Agreement

20260612

First meeting of the public-private task force (provided by Ministry of Culture, Sports and Tourism)South Korea's Ministry of Culture, Sports and Tourism (MCST) and the Korean Film Council (KOFIC) have launched a public-private task force to address one of the industry's most contested issues: the theatrical holdback window. The first meeting was held on May 29 at KOFIC's planning and development center in central Seoul, marking the formal start of negotiations. The body aims to finalize a voluntary holdback agreement — formally titled the "Mutual Coexistence Holdback Accord for Korean Cinema" — by August.Culture Minister Choi Hwi-young opened the session with a call for unity, urging stakeholders to protect "the flame that was painstakingly rekindled" in an industry he described as still recovering from years of crisis.A theatrical holdback window refers to the period during which a film remains exclusive to cinemas before becoming available on streaming platforms, VOD, or other distr

Jung Woo-sung, Wi Ha-joon Join Kim Hong-sun's Global Action Historical Film Salsaengbu

20260610

A scene from the webtoon Salsaengbu.Director Kim Hong-sun, who built his international profile withProject Wolf HuntingandGangs of London Season 3, has chosenSalsaengbuas his Korean comeback. With Jung Woo-sung, Jung Sung-il, and Wi Ha-joon confirmed for the cast, the film is now in pre-production with a 2026 principal photography start targeted. Assembling a crew of Hollywood and European department heads while holding active distribution talks with major global companies,Salsaengbusignals a new chapter in the internationalization of Korean historical action cinema.The film is based on a webtoon of the same name that has surpassed 120 million cumulative views and won the Grand Prize at the inaugural Daum Online Comics Competition. Set against the backdrop of the Gyeyujeongnan — the 1453 coup through which Grand Prince Suyang seized the throne by purging his political rivals — the story follows Lee Hwa, a young woman who loses every

KOFIC Hosts Special Screening of The King's Warden at Yeoju Prison

20260610

The Korean Film Council (KOFIC; Chairman Han Sang-jun) hosted a special screening of a Korean film at Yeoju Prison on June 8. The event was organized to give inmates at a correctional facility — where access to cultural activities is comparatively limited — the opportunity to experience Korean cinema, and to expand cultural participation through film. KOFIC collaborated with Yeoju Prison, making use of the facility's existing screening space and operational conditions to stage the event. The featured film, The King's Warden, has surpassed 16 million admissions and holds the all-time record for cumulative box office revenue among domestic theatrical releases. The film was selected for this special screening for its thematic resonance: drawn from historical figures, it carries a message that invites reflection on human dignity and responsibility, and the values of trust and community. The screening was held in the main auditorium of Yeoju Prison in accordance with

Korean AI Films Make Their Mark on the Global Festival Circuit

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Poster of ‘The Messenger’ (Provided by HSAD).Two Korean AI films made successive waves on the international stage in the first half of 2026. Messenger, a sci-fi short produced by Park Dong-hwa, an AI director at Korean advertising agency HSAD, won Best AI Film at five global festivals including competitions held in New York, Cannes, and Los Angeles. Man in Hanbok, a feature-length alternate history fantasy directed by novelist-turned-filmmaker Lee Sang-hoon, followed a path from domestic and international AI festival recognition to a distribution deal at Hong Kong FilMart and a theatrical release in Korea in May. Both films employed generative AI across every stage of production, from development and cinematography through editing and music.Messenger is an eight-minute, five-second SF thriller short. The film follows scientist Eden Reed, who receives a warning message from the year 2030 and finds himself at a crossroads when he learns that the AI-based reactor he has developed will bri

BIFF Winner Earns Direct Oscar Eligibility as Academy Expands International Feature Pathway

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The Oscar statuette (provided by cineuropa)The Academy of Motion Picture Arts and Sciences (AMPAS) has significantly overhauled the eligibility rules for the Academy Award for Best International Feature Film, designating the Busan International Film Festival (BIFF) as one of six festivals whose top prize winners may now qualify directly for Oscar consideration — the only Asian festival to receive this distinction.AMPAS announced the revisions in May, to take effect beginning with the 99th Academy Awards, scheduled for March 15, 2027. The centerpiece of the reform is a new parallel eligibility pathway: in addition to the existing system of official country or regional submissions, non-English-language films that win designated top awards at one of six approved festivals may now independently qualify for the International Feature Film category.The six qualifying festivals and their corresponding prizes are: the Cannes Film Festival (Palme d'Or), the Venice International Film Festival (G

Independent Cinema, Right at Your Door

20260604

The Korean Film Council (Chairperson Han Sang-jun; hereinafter KOFIC) will launch its 2026 Independent and Art-House Film Screening Program at 60 commercial theaters across the country beginning June 1. The initiative is expected to give residents in regions underserved by dedicated art-house venues the opportunity to access a wider range of films at their nearest cinema, broadening cultural participation at the local level. In April, KOFIC issued a public call for applications targeting commercial theaters located in municipalities without dedicated art-house venues. Following a comprehensive evaluation of operational capacity and regional accessibility, 60 theaters were selected: 50 chain theaters and 10 independent theaters. Participating theaters will offer regular independent and art-house film screenings from June through the end of December. To maximize attendance, screenings will be prioritized during high-demand time slots: weekday evenings (6:00–10:00 PM) an

Director Jin Mi-song's Silent Voices Wins Second Prize at Cannes La Cinef

20260603

Still of ‘Silent Voices’ (provided by Festival de Cannes)Director Jin Mi-song's short film Silent Voices won Second Prize in the La Cinef section at the 79th Cannes Film Festival on May 21 (local time). Competing against a field of 19 films selected from 2,750 submissions representing film schools worldwide, this 17-minute short — following a single day in the life of a Korean immigrant family — earned recognition from the jury.Silent Voices is structurally spare but precisely calibrated. The film follows each of the four family members through their respective days, tracing how the realities each one quietly shoulders remain unshared with the others. As time passes, what holds this family together is less conversation than silence. Even as each person's day slowly unravels, no one finds it easy to bring that weight into the open in front of the others. This "silence" — which is also the film's title — functions as its primary language. The paradox in which concealing one's wounds bec

At Cannes 79, Hope Sells to 200 Territories, Colony to 120 — Korean Genre Cinema Proves Its Global Market Value

20260601

Director Na Hong-jin and the cast of Hope (provided by Edaily)Korean cinema reaffirmed its presence in the global marketplace at the 79th Cannes International Film Festival — independent of awards outcomes. This year, Na Hong-jin's Hope and Yeon Sang-ho's Colony each generated substantial international pre-sales and strong on-the-ground reception, demonstrating their commercial viability on the world stage. Park Chan-wook's upcoming feature The Brigands of Rattlecreek — with the director serving as jury president — further drew significant attention on the Marché du Film, rounding out a year in which Korean cinema made its mark not only in programming, but in distribution, sales, and investment negotiations.Na Hong-jin's sci-fi action blockbuster Hope completed pre-sales to approximately 200 territories ahead of and around Cannes, setting what sales company Plus M Entertainment described as an all-time record for overseas pre-sales of a Korean film. Major markets secured include North

Park Chan-wook Awarded France's Highest Cultural Honor — First Korean Film Director to Receive the Commandeur

20260529

Park Chan-wook receives the Commandeur de l'ordre des Arts et des Lettres (provided by Le Parisien)On May 17, during the 79th Cannes Film Festival, director Park Chan-wook received the Commandeur de l'ordre des Arts et des Lettres — France's highest cultural honor — from French Minister of Culture Catherine Colonna. He is the first Korean film director to receive the distinction, and only the fourth Korean national overall.Established in 1957, the Ordre des Arts et des Lettres is awarded by the French Ministry of Culture to individuals who have made outstanding contributions to the arts and literature, or to the promotion of French and world culture. Recipients are selected by the Ministry of Culture, and the order is divided into three grades: Chevalier (Knight), Officier (Officer), and Commandeur (Commander) — the last of which is the highest rank. Among those who have received the Commandeur are filmmakers of global stature such as Martin Scorsese and Clint Eastwood. Park joins thr

Korean Academy of Film Arts to Launch 2026 KAFA+ Filmmaker Training Program in June

20260529

The Korean Film Council (KOFIC, Chairperson Han Sang-jun) and its Korean Academy of Film Arts (KAFA, President Cho Geun-sik) will launch the 2026 KAFA+ Filmmaker Training Program on Wednesday, June 17. Operating under the new vision of "AI and Digital Cinema Workflow-Based Practical Filmmaker Training," this year's program runs a total of 330 hours for 720 participants. The curriculum has been significantly restructured to strengthen the practical competencies of working film professionals and equip them to respond proactively to the rapidly evolving film industry landscape. The KAFA+ Filmmaker Training Program is an expanded and restructured iteration of the former "Working Filmmaker Training" program, which had been offered as a continuing education initiative for industry practitioners. It is a comprehensive, integrated training program encompassing job-specific specialized education across all sectors of the film industry, as well as instruction in emerging film technolo

The Day She Returns Secures Distribution Across Seven Territories in North America, Europe, and Asia

20260527

Still from ‘The Day She Returns’ (provided by Jeonwonsa Film Co.)Hong Sangsoo's 34th feature, The Day She Returns, had its distribution rights secured by The Cinema Guild for North America before the film even left its festival premiere, followed by deals across France, Spain, the United Kingdom, Finland, China, and Taiwan — seven territories in all. That an arthouse black-and-white film could land in seven markets at this pace speaks to a simple dynamic: rather than having to re-convince each market from scratch, the director's name already functions as its own guarantee of quality.North American distribution went, once again, to The Cinema Guild. The New York-based company, which has long specialized in arthouse cinema — including works by Claire Denis, Béla Tarr, and Agnès Varda — has been acquiring Hong Sangsoo's new films at the Berlin International Film Festival every year since On the Beach at Night Alone in 2017. In Europe, France's Carlotta Films, Spain's Atalante, and London'

Cannes 2026 Opens Its Doors — Showbox Launches Korean Comedy Bok-ja's Special Rice Cake Shop at the Market

20260525

Peter Jackson receives the Honorary Palme d Or from Elijah Wood during the Opening Ceremony as part of the 79th Cannes Film Festival in Cannes (provided by IMAGO / ABACAPRESS)The 79th Cannes International Film Festival opened officially on May 12 (local time) in Cannes, France. The opening ceremony saw Hollywood actress Jane Fonda and Chinese actress Gong Li take the stage together to declare the start of the festival. Gong Li remarked: "Jane comes from the West, I from the East. Tonight we stand here together. That is the magic of Cannes."Director Peter Jackson, best known for The Lord of the Rings trilogy, received the Honorary Palme d'Or from presenter Elijah Wood to a standing ovation.This year's Official Competition features 22 films. Park Chan-wook serves as jury president — the first Korean filmmaker to chair the Cannes Competition jury, and the first Asian to do so in twenty years, since Wong Kar-wai in 2006. The jury is completed by Demi Moore, Chloé Zhao, Ruth Negga, and Ste

Na Hong-jin's Hope, Cannes' Most Anticipated Korean Title, Makes Its World Premiere

20260522

Poster of ‘HOPE’ (provided by Plus M Entertainment)Na Hong-jin's new film Hope has been selected for the Official Competition of the 79th Cannes Film Festival. It marks the 20th time a Korean director has entered the Cannes Competition, and the first time for Na Hong-jin himself. The film received its world premiere at the Lumière Grand Théâtre on the 17th, earning a six-minute standing ovation immediately following the screening.Hope is a science-fiction thriller set in Hopo Port, a harbor village on the Demilitarized Zone, following a series of events unleashed by the appearance of an unidentified entity. Hwang Jung-min, Jo In-sung, and Jung Ho-yeon play village residents, while Michael Fassbender, Alicia Vikander, Taylor Russell, and Cameron Britton portray alien characters through motion capture and facial capture technology. Beginning as a survival action film before expanding into science-fiction mythology, the work alternated between tension and humor, drawing an enthusiastic r

Pre-Sold to 124 Countries: Yeon Sang-ho's Colony Brings His Zombie Universe Back to the World Stage

20260520

Poster of ‘Colony’ (provided by Showbox)Yeon Sang-ho's new film Colony has secured distribution rights across 124 countries — including the United States, France, Germany, Taiwan, Australia, and the Philippines — before a single domestic screening has taken place. The film, which imagines an infection that evolves through collective intelligence, was already being inked into international distribution contracts before its invitation to the Cannes Film Festival's Midnight Screenings section was even announced.Doris Pfardrescher, president of Well Go USA — the North American distributor of Colony — cited Yeon's filmography rather than the film's content as the primary basis for signing. Having previously distributed both Train to Busan and Peninsula, she described the decision as one driven by established trust rather than advance content review. The director's track record, in other words, preceded the work itself as the operative condition of the deal.That trust was not built overnight

Two Korean Independent Films from Jeonju Attract International Critical Attention

20260518

Kim Jong-kwan, director of Frosted Window, during his interview with Rita Andreetti (provided by Asian Movie Pulse)Two Korean independent films screened at this year's Jeonju International Film Festival have drawn attention from international media. Italian film critic Rita Andreetti met individually with Kim Jong-kwan, director of Frosted Window, and Kim Da-som, director of the debut feature SOAR, conducting in-depth interviews with each.In his interview, Kim Jong-kwan discussed the omnibus structure of the film, set in Seoul's Seochon neighborhood. "It started from a single rule," he said, "that each episode had to be a story that unfolds within just one day." He noted that Frosted Window was his first work in which both the shoot and the release took place in the post-pandemic era, and expressed his wish to capture two things simultaneously: the quiet of everyday life, and an awareness of what was lost during that time. In a separate review, Andreetti compared the film to the w

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

20260515

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

20260513

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

20260513

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

20260511

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

20260508

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

20260506

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

20260504

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

20260501

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

20260430

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

20260429

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

20260427

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

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

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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