Forgot password

Shiri (1999)

Over the past twenty-five years Korea’s box office has relied on four peak seasons to help drive its growth: lunar new year, the summer season, Chuseok (Korea’s thanksgiving) and Christmas/New Year. Studios would often release their tentpole films during these periods. Kang Jekyu’s Shiri (1999) financed and distributed by Samsung before it left the industry hit screens in time for the lunar new year in 1999. It was Korea’s first successful blockbuster setting the stage for what came later. Park Chan-wook’s Joint Security Area / JSA (2000) distributed by one of Korea’s leading studios CJ ENM was released ahead of Chuseok in 2000. Both films sold over 5 million tickets.

The lunar new year and Chuseok are Korea’s two biggest holidays bringing families together as many Koreans travel to their hometowns. With many families heading out to the cinema, studios would seek to attract a wide demographic; both young and older crowds.

Silmido (2003)

In 2003 that saw mid-sized budget films perform well – Park Chan-wook’s Oldboy (2003) and Bong Joon Ho’s Memories of Murder (2003) are two key examples – Kang Woo-suk’s Silmido (2003) produced and distributed by Cinema Service was released on Christmas Eve taking advantage of the holiday season. Although Christmas is not a major holiday in Korea in the same way it is in much of the West, students do have a winter break and it can be a busy time at the multiplexes. Silmido made history becoming the first Korean film to sell over ten million tickets.

The Host (2006)

One of the busiest times for Korea’s cinema chains has been the summer. Like the winter students are off school but what is unique about this time of year is that many people take leave from work in late July and/or early August. Traditionally this has been a time to escape the heat for air-conditioned screens and enjoy blockbusters with friends and family. One of the most successful examples from the 2000s is undoubtedly Bong Joon Ho’s The Host (2006) that broke box office records after it was released on July 27, 2006 selling more than 13 million tickets.

Roaring Currents (2014)

Ten years later Yeon Sang-ho’s Train to Busan (2016) would similarly strike a chord during the summer months accruing 11.5m admissions. The 2010s would see an array of blockbusters perform strongly at the box office during peak seasons. Kim Han-min’s Roaring Currents (2014) would become the most-viewed film in Korean box office history with 17 million admissions following its release in July 2014. Lee Seok-hoon’s The Pirates (2014) was also a summer hit with 8 million viewers. Choi Dong-hoon’s Assassination (2015) was popular with audiences a year later. This trend would continue throughout the decade with Jang Hoon’s A Taxi Driver (2017) a box office hit in the summer of 2017.

What these films share in common is an effective mix of spectacle, star power and local backdrops and stories. They are event films and are marketed as such. Media outlets regularly reported about their release and tracked their journeys at the box office.

The Post-Covid Era

In the post-covid era viewing habits have changed. Korean blockbusters have struggled to pull in audiences in large numbers and viewers in the early-to-mid 2020s were not attending the cinema during peak seasons in the same way they used to. Hitmaker Choi Dong-hoon experienced his first box office flops with his Alienoid films that failed to muster much excitement in 2022 and 2024. Woo Min-ho’s Harbin (2024) released at the end of 2024 sold close to 5 million tickets but was a far cry from some of the box office hits prior to Covid.

Still, there have been hits though interestingly many of them released in off-peak times. Jang Jae-hyun’s Exhuma (2024) that amassed almost 12 million admissions hit screens after the lunar new year holiday in 2024. Kim Sung-su’s 12.12: The Day (2023) was released in what is usually considered a quiet time at the box office: November. The film attracted more than 13 million viewers.

Camping and traveling have become popular among many Koreans and instead of going to the cinema during peak seasons there are other activities for people to enjoy. And yet, this summer audiences appear to be returning to the cinemas. Korea’s leading cinema chain CGV reported a 45.6% jump in attendance between July 29 and August 9 compared to a year earlier with 9.55m – the highest number since the summer of 2019.

What is driving this is two Hollywood box office behemoths: Spider-Man: Brand New Day (2026) and Christopher Nolan’s The Odyssey (2026) that have collectively generated close to 19 million tickets. While they were expected to perform robustly, the gargantuan success of these films does suggest that the summer blockbuster is not dead.

Premium formats especially are in huge demand. The IMAX screen in Yongsan remains sold out for The Odyssey and when tickets are cancelled, they are purchased again within seconds. IMAX sales for the film amount to 18.4% on just 27 screens.

The King's Warden (2026)

What this all means for Korean cinema remains uncertain. Na Hong-jin’s Hope (2026) wasn’t a flop over the summer but its tally of 4.5m admissions was a disappointment given its high budget. Nevertheless, this year has seen Korean cinema mount a recovery. Jang Hang-jun’s The King’s Warden (2026) was a lunar new year box office smash hit selling close to 17 million tickets.

Lee Jae Myung’s administration evidently views supporting the film industry as a priority. The government issued more than 2 million coupons this summer. Furthermore, the South Korean president joined his French counterpart, Emmanuel Macron in co-chairing the Lumière Summit on September 7 in the south of France where attendees discussed the future of the screen industries. The Korean Film Council is also supporting mid-sized budget features that was launched in 2025. All this matters as the industry attempts to stage a comeback.

Looking ahead at the Chuseok season that is another testing ground for the industry in September. There are three major releases in what is a sign of confidence from the studios. Warner Bros. Korea is releasing the remake The Intern (2026) starring Choi Min-sik and Han So-hee on September 16. Hive Media Corp’s The Assassin(s) (2026) that will have its world premiere at the Toronto International Film Festival is released a week later. Also coming to cinemas in time for the holiday is Tazza: The Song of Beelzebub (2026) distributed by CJ ENM.

If these films do connect with audiences and continue this recovery it will be further evidence that the industry is indeed coming full circle.

Written by Jason Bechervaise
Edited by kofic