50 Must-See Korean Films from 2000 to 2022

Through Korean cinema, I first encountered Korean entertainment and culture. I must admit that, for a very long time, I have been a huge admirer of Korean movies. I believe that Korean cinema has been setting the bar for creativity for many years, even more so because of its cutting-edge approach to various genres, a factor behind its continued influence on international films.

In the following listicle, I’ve curated 50 Korean films that have had a lasting impression on me.

Joint Security Area (2000) – Park Chan-wook

A mystery-thriller movie with Lee Young-ae, Lee Byung-hun, and Song Kang-ho, it is premised on Park Sang-yeon’s novel DMZ. The movie, which was filmed on location in South Korea, is about an inquiry into the circumstances surrounding a fatal gunshot incident that took place inside the tightly guarded demilitarised zone (DMZ, which divides North and South Korea). The movie was a resounding hit, generating a ton of traction and breaking the record for the highest-grossing Korean movie at the time.

Il Mare (2000) – Lee Hyun-seung

This is a time-traveling love story featuring Lee Jung-jae and Jun Ji-hyun. Il Mare, the name of the coastal villa where the play is set, translates to ‘the sea’ in Italian. Although they live there two years apart in time, the protagonists still communicate thanks to a magical mailbox. I like how the epilogue takes us back to the beginning of the film when Eun Joo (Jun) is preparing to put her Christmas card in the mailbox. A person arrives holding a letter that she sent urging Sung Hyun (Lee) not to attend a meeting. It turns out that he did receive her message and didn’t go anywhere. The movie ends with the lovers finally meeting.

My Sassy Girl (2001) – Kwak Jae-young

Jun Ji-hyun’s portrayal of ‘the girl’ in My Sassy Girl not only positioned her as an undeniable superstar but also offered us a film that redefined the rom-com genre in Korean cinema. The movie is inspired by a real story presented in a series of blog entries by Kim Ho-sik, who eventually turned them into a fictional novel. The central characters of the story are Gyeon Woo (Cha) and ‘the girl’ (Jun), who meet at a train station. When Gyeon Woo notices her in a daze standing perilously close to the railway platform’s edge as the train approaches, he pulls her to safety.

Next, and throughout the film, the girl constantly mocks him, getting him into trouble on numerous occasions. Nonetheless, the guy is captivated by her. A huge commercial hit as it was, My Sassy Girl made history in terms of how well it was received. It helped Korean films receive notoriety overseas, was indeed a major contributor to the growth of the Korean Wave, and became the subject of countless remakes and adaptations.

Failan (2001) – Song Hae-sung

Failan can shatter your heart into a thousand pieces. This classic tearjerker is essentially a cross between a South Korean gangster movie and a melodrama. Failan (Cecilia Cheung), an estranged girl, travels to Korea in quest of her relatives. When she learns that they have migrated to Canada, she finds herself adrift, lacking the means to support herself. Desperation drags Failan into an arranged marriage with a third-rate hooligan, Kang Jae (Choi Min-sik), who is equally in need of money.

Although the couple never meets, Failan spends days aching to see her husband, writing a farewell letter to him but not posting it owing to a lack of nerve. Kang Jae, on the other hand, forgets her in a trice. She suffers the entire time, alone and isolated, and ends up dead. When Kang Jae returns, he finds the letter from Failan, realizing what he meant to her while also realizing that it’s now too late.

One Fine Spring Day (2001) – Hur Jin-ho

After collaborating on a project documenting ambient sounds, a sound engineer (Yoo Ji-tae as Sang Woo) falls for a radio show host (Lee Young-ae as Eun Soo). The film chronicles a love affair, from its emergence in spring to its demise across time. Eun Soo is constantly reminded of her troubled past by Sang Woo’s burgeoning passion. She is conscious of how passion may dissipate like a sound and how love can slowly dwindle into triviality.

Oasis (2002) – Lee Chang-dong

If you can deal with a nerve-racking saga of love, then Oasis should be an enriching experience. Hong Jong-du (Sul Kyung-gu) is freed from prison after serving time for a hit-and-run death case. Abandoned and penniless, and yet hoping to make amends, he visits Han Gong-ju (Moon So-ri), the victim’s daughter with acute cerebral palsy, thoughtlessly dumped in a dingy apartment.

Han’s innate sensitivity attracts Hong, and the two social outcasts embark on an unusual romance. Oasis for me is a mirror that clearly exposes how frequently people with disabilities are mistreated and shunned by society.

https://www.youtube.com/watch?v=4Uo6CgLcxn4

Sympathy for Mr. Vengeance (2002) – Park Chan-wook

“A dying sister, a devoted brother, a radical lover, an innocent victim, a desperate father, and a crime,” reads the trailer of this visually striking thriller film, “where vengeance will get no sympathy.” Ryu (Shin Ha-kyun), an axed deaf-mute factory worker, needs money for his ailing sister’s kidney transplant. In desperation, he and his lover (Bae Doona) abduct the daughter of businessman Park (Song Kang-ho). What ensues is a carnage of mayhem as an unusual situation prompts Park to unleash hell in a bid to exact retribution. Often considered horrific, vicious and gory, this movie isn’t for the faint-hearted.

Old Boy (2003) – Park Chan-wook

Oh Dae-su (Choi Min-sik), a man who spends 15 years in a cell that replicates a hotel room, is at the core of Old Boy, a critically acclaimed award-winning neo-noir action thriller directed by Park Chan-wook. Oh has no inkling who his captor is or why he is holding him hostage. Even though finally freed, Oh discovers that he is still entangled in a labyrinth of savagery and deceit. Ironically, his own vendetta backfires when he develops feelings for Mi Do, a young chef (Kang Hye-jung).

After my first encounter with Old Boy, it took me a while to process the physiological shocks that ran throughout the narrative. Director Park’s rendering of events with the most unexpected plot twists makes it scary, while cementing its legacy as one of the best films in the history of Asian cinema.

Memories of Murder (2003) – Bong Joon-ho

This film is a murder mystery set in a small Korean province, where Park (Song Kang-ho) and Cho (Kim Roi-ha) are two detectives investigating a series of rapes and murders of women. As the story develops, the men realize they are on the trail of a confirmed serial killer. The fact-based movie received critical acclaim and multiple awards, in addition to being classified as both a cult film and perhaps one of the best South Korean films ever made. Watch it to see how Bong Joon-ho has adeptly crafted a cinematic recipe of crime, sarcasm and humor.

Spring, Summer, Fall, Winter…and Spring (2003) – Kim Ki-duk

This film may hit you on a different level. Kim Ki-duk undertakes a spiritual inquiry through the titular seasons in the life of a boy as he matures from boyhood to old age under the supervision of a monk (Oh Young-su). In his adolescence, the novice (Seo Jae-kyong) succumbs to sexual impulses and becomes physically acquainted with a female who visits the monastery. The attraction is too intense for him to endure and he thus departs with the girl to an unknown world.

You might feel zen while witnessing the Buddhist symbols and imagery woven across the story that subtly comment on the ramifications of the protagonists’ choices. A small piece of trivia here: Kim Ki-duk himself appears as the man in the last stage of his life.

A Tale of Two Sisters (2003) – Kim Jee-woon

On returning from a psychiatric ward to their country estate, two sisters – Su Mi (Yum Jung-ah) and Su Yeon (Im Soo-jung) – learn of their widower father’s (Moon Geun-young) remarriage to Eun Joo (Kim Kap-soo). Embittered by this new development in their lives, the siblings attempt to regain normalcy only to be confronted with terrifying, inexplicable happenings that begin to afflict the house. As the sisters attempt to cope with the ordeals of the present and a dark past, the narrative becomes unnervingly effective, culminating in a horrifying climax. A Tale of Two Sisters has received acclaim from all quarters and remains the highest-grossing Korean horror film.

A Moment to Remember (2004) – John H. Lee (Lee Jae-han)

This film’s strength rests in its extraordinary treatment of circumstances and the way it traverses through the emotions of a young couple’s (Son Ye-jin and Jung Woo-sung) undying love, which is put to the test when Su Jin (Son) is diagnosed with an uncommon type of Alzheimer’s disease. A Moment to Remember may be delicate and devastating, but that is the true essence of the film. How a gorgeous pair challenges their respective socio-economic standing to stay together and how adversity is insufficient to undermine their love for each other might touch a nerve. A compelling narrative of relationship, discovery, and the consequences of loss.

3-Iron (2004) – Kim Ki-duk

Author Hye Seung Chung describes 3-Iron as exploring social class and “issues of marginality, voicelessness, and invisibility” in South Korea. The cast includes Jae Hee (as Tae Suk), a young vagabond who falls for a mistreated wife portrayed by Lee Seung-yeon (as Sun Hwa).

The epilogue serves as the most intriguing section of the film, best expressed by Hye: We witness Tae Suk being released from prison and Min Gyu (Sun Hwa’s husband) preparing for his possible return to Sun Hwa. Tae Suk is able to reunite with Sun Hwa in her home while evading Min Gyu’s discovery. She tells Min Gyu, “I love you,” and hugs him, but she kisses Tae Suk over his shoulder. When the husband goes on business, the wife and her lover stand on a scale together with a caption emerging on screen: “It’s hard to tell whether the world we live in is either a reality or a dream.”

To be honest, it’s tough for me to adequately describe 3-Iron. I can only say that it is all about living with and loving someone.

Taegukgi: The Brotherhood of War (2004) – Kang Je-gyu

‘Taegukgi’ is the name of the pre-war flag of the People’s Republic of Korea, the flag of the Provisional People’s Committee for North Korea, and the current flag of South Korea. The plot of this classic wartime action drama focuses on Jin Tae (Jang Dong-gun), who is fiercely protective of his younger brother, Jin Seok (Won-bin). When the Korean War breaks out and both are enlisted, Jin Tae vows to take on the most dangerous missions to keep Jin Seok safe. What unfolds is a fantastic drama of intense action in a strife-torn country, with a family torn apart by war at its center.

A Bitter Sweet Life (2005) – Kim Jee-woon

Here a sinister story is presented in a shadowy cinematic style. Lee Byung-hun plays Sun Woo, a henchman devoted to his mafia boss Kang (Kim Yeong-cheol). Kang assigns Sun Woo to follow his young mistress, Hee Soo (Shin Min-ah), who he suspects is having an affair with some other guy. Things erupt into chaos as Sun Woo becomes Kang’s target after he declines to kill Hee Soo.

The King and the Clown (2005) – Lee Joon-ik

Between 2005 and early 2010, the inclusion of homosexual themes in Korean dramas proliferated, with King and the Clown (2005) serving as the most well-known example. Two clowns previously detained for ridiculing the king are given a chance at freedom if they can make him laugh. It is credited with popularizing the term ‘pretty boy or flower boy,’ as well as raising concerns about commercialization and the neglect that the LGBTQ+ community faced. The box office sensation was shortlisted as South Korea’s official entry for the 2006 Academy Award for Best Foreign Language Film.

The Host (2006) – Bong Joon-ho

An alien beast rises from the Han River and spreads havoc as a result of an American military pathologist’s thoughtless deed of dumping bottles of formaldehyde into the river. After killing hundreds, the monster hunts down Go Ah-sung, the daughter of a vendor (Song Kang-ho), who resolves to save her.

The film’s genesis, according to director Bong Joon-ho, was a local newspaper report about a mutant fish with an S-shaped spine that was discovered in the Han River. He added that the movie makes a metaphorical and political point about the United States. The Host earned multiple awards, including Best Film at the Asian Film Awards and Blue Dragon Film Awards, and was screened at myriad film festivals.

Secret Sunshine (2007) – Lee Chang-dong

For a fresh start, Lee Shin-ae (jeon Do-yeon) relocates with her kid to Miryang, the hometown of her deceased husband. But misfortune follows like a ghost, and the woman discovers that she has zero control of her life as she tackles bereavement, illness and other grave consequences. Secret Sunshine is a tragic drama that has received critical acclaim and praise for its brilliant performances and unexpected twists.

My Father (2007) – Hwang Dong-hyuk

James Parker (Daniel Henney), fostered by a loving American family, always longed to discover his birth parents. He learns that his biological father is the only one still alive and is a death-row inmate having spent more than 10 years of his sentence. Although the father (Kim Yeong-cheol as Hwang Nam-cheol) and son’s initial encounter is awkward, deeper sentiments surface with time. The concern is that a growing attachment between a father facing death and a son who must return to the United States after serving his military service can only be painful.

The Chaser (2008) – Na Hong-jin

“You’re still going to get the chases, the violence, and the dark tone you would expect, but all of that is rooted in reality and drama, making The Chaser come very close to the neo-noir genre,” Marianna Neal, a Rotten Tomatoes critic, succinctly summarises The Chaser on her YouTube channel Impression Blend. The film pursues a shamed ex-cop now operating as a pimp, who gets caught up in a pulsating chase after one of his prostitutes mysteriously disappears. The film received huge admissions nationwide during its run time, becoming one of the most successful South Korean movies of 2008.

Breathless (2008) – Yang Ik-joon

You might find everything in Breathless to be unclean and unpolished. But this tragedy of child abuse and loan sharking, while containing brutality and profanity, also includes sensitive and redemptive moments. A moneylender named Sang Hoon (Yang Ik-joon) befriends a distraught student named Yeon Hee (Kim Kkot-bi) as he contends with his own personal turbulent experience. Breathless, helmed by debutant director Yang Ik-joon, was a critical and commercial success, with his solid performance as Sang Hoon receiving a lot of praise.

Thirst (2009) – Park Chan-wook

Korean horror, like its Japanese counterpart, is respected for its novel contribution to the genre. Thirst is a classic example of this, as director Park Chan-wook fashioned a masterpiece that embodied the specifics of horror through his slick filmmaking and aesthetically appealing discourse. Sang Hyun (Song Kang-ho) is a Catholic priest who becomes a vampire as a result of a failed medical experiment and discovers his newfound yearning for Tae Ju (Kim Ok-bin), the wife of his childhood friend.

Thirst is sadistic, shocking and sexy all at once. It’s not the quintessential vampire movie, so don’t draw inferences if you haven’t seen it. It will catch you off guard when you least expect it. The movie won critical appraisal and was nominated for the Palme d’Or at the 2009 Cannes Film Festival, where it also received the Jury Award.

Mother (2009) – Bong Joon-ho

The simple routine of a widow (Kim Hye-ja) living with her mentally challenged son (Won Bin) is shattered when the body of a murdered young girl is discovered. Reasonable suspicion implicates the son, and he becomes the accused throughout the botched police investigation. After feeling misled by the judicial process, the mother takes the law into her own hands to defend her child. The movie is another milestone for Bon Joong-ho as a filmmaker and a big gun in the arsenal of Korean cinema; deep, dark, and one hell of a thriller.

I Saw the Devil (2010) – Kim Jee-woon

I Saw the Devil encapsulates the methodically constructed gory chaos and heart-pounding adrenaline of Korean horror cinema. We observe a cat-and-mouse game between a secret agent (Lee Byung-hun) and a lunatic serial killer (Choi Min-sik) who murders the former’s fiancée. It’s a super-hit blockbuster that garnered a flurry of prestigious honors and widespread recognition for being crazily innovative and utterly unforgettable.

The Man from Nowhere (2010) – Lee Jeong-beom

In this action thriller starring Won Bin, we get a glimpse of an enigmatic and mysterious man who goes on a killing spree and becomes involved in a bloody battle to rescue a kidnapped child. If you’re looking for intense action, a gripping storyline, stellar performances, and a hot action hero, The Man from Nowhere won’t disappoint. 

Silenced (2011) – Hwang Dong-hyuk

Silenced narrates the events that occurred at Gwangju Inhwa School for the Deaf in the early 2000s, where young hearing-impaired pupils were the victims of serial sexual assaults by faculty members. Gong Yoo and Jung Yu-mi appear in this adaptation of Gong Ji-young’s novel, The Crucible.

According to a Yonhap News report, the movie prompted widespread outrage over lenient court rulings, pushing the authorities to reinstate the case and lawmakers to create measures for vulnerable people’s human rights. Film critic Ahn Si-hwan observed, “For the past few years, we have seen almost no South Korean films that actively examined the state of our society, the values of what is right, and what we need to do the way The Crucible does.”

Always (2011) – Song Il-gon

SoJi-sub and Han Hyo-joo co-star in the melodramatic movie Always. It is about a romance between a lonely, reclusive former boxer (So) who now works as a parking-lot attendant and a beautiful telemarketer (Han) who, while losing her sight over time, never loses hope. As love blossoms between the two, and the man’s scars from a traumatic past begin to heal, another circumstance pulls the couple apart. Always is a beautiful portrayal of true love, which was screened as the opening film at the Busan International Film Festival.

Pieta (2012) – Kim Ki-duk

I saw Pieta two years ago and will never dare to watch it again. It is far too gruesome, frightening, and melancholic to leave you damaged, broken, and petrified. And perhaps that is the whole point of Pieta, a heinously violent picture that was screened at the three major international film festivals – Venice, Cannes and Berlin – winning the top award at Venice.

At the crux of Pieta is a loan shark (Lee Jung-jin as Lee Kang-do) who is compelled to re-evaluate his aggressive behavior after a mystery woman (Jo Min-su as Jang Mi-seon), claiming to be his long-lost mother, enters his life. The artistically minded Korean thriller borrows its name from the Italian Pietà, (which refers to images of the Virgin Mary carrying Jesus’ body) and employs more Christian allusions along the way. There’s graphic sex, a violent rape scene, suicide, merciless killing, paralyzing, and other atrocities. Prepare yourself mentally before watching the movie.

A Werewolf Boy (2012) – Jo Sung-hee

A pretty young girl (Park Bo-young) is driven to a country estate for her well-being, where she befriends and attempts to civilize a wild, untamed boy (Song Joong-ki) found on the grounds – but the monster within him is constantly poised to explode. This is a sensitive and captivating romance between the two, concerning untainted love amidst intrigues while also emphasizing how undying love is patient, kind and giving. Song Joong-ki, as the titular character, stands out, connecting well with the audience.

Snowpiercer (2013) – Bong Joon-ho

A fantastic allegory of the effects of a post-apocalyptic ice age, Snowpiercer by Bong Joon-ho points a finger at social stratification. Praised by experts for its distinctive style and perspective, the story is set aboard the ‘Snowpiercer’ train. It circles the planet, carrying the last survivors of civilization after a botched attempt to contain global warming has produced a ‘Snowball Earth.’ Chris Evans plays Curtis Everett, leader of the lower-class passengers in the tail section who rebel against the upper class at the front.

Miracle in Cell No.7 (2013) – Lee Hwan-kyung

Miracle in Cell No.7 is based on the true story of a man who was tortured and pled no contest to the rape and murder of a nine-year-old girl in Chuncheon in 1972, only to be acquitted. The comedy-drama, with Ryu Seung-ryong, Kal So-won, and Park Shin-hye, deals with a mentally deficient individual (Ryu) who is mistakenly convicted of murder. While incarcerated, he befriends career criminals who band together to reunite him with his child (Kal) by sneaking her into the cell.

Ode to My Father (2014) – Yoon Je-kyoon

Currently the fourth highest-grossing film in the history of South Korean cinema, Ode to My Father sketches a young boy’s lifelong commitment to looking after his family. Protagonist Yoon Deok-soo’s (Hwang Jung-min) life essentially traces the course of South Korean history from the 1950s to the present day as he encounters situations like the Hungnam evacuation during the Korean War, the government’s decision to transfer nurses and miners to West Germany in the 1960s, and the Vietnam War.

A Hard day (2014) – Kim Seong-hun

Exceptionally well-made in terms of thrills, action, suspense and humor, Kim Song-hun pulled off a stellar pot-boiler in A Hard Day following a homicide detective (Lee Sun-gyun) who accidentally crushes a man with his car, and then tries to hide the body in his mother’s coffin on the day of her funeral. Insane right? Yet that is what you get to see in the film, replete with unexpected events that set the tone for future twists. A Hard Day, therefore, might give you a hard time attempting to absorb the build-up. It debuted at the Cannes Film Festival to an amazing reaction, alongside a successful run at the box office, eclipsing other thrillers released at the time.

Gangnam Blues (2015) – Yoo Ha

This film is very significant to me as a Lee Min-ho follower. It was also my first encounter with Kim Rae-won, another incredibly skilled South Korean actor. The plot unfolds in the 1970s, during the real-estate expansion of the Gangnam region, amid socio-political upheaval and violence.

Two close friends’ bond is put through its paces as they get enmeshed in the conspiracy and conflicts between governing bodies and crime syndicates. Gangnam Blues garnered massive admiration from different quarters. Pierce Conran of Modern Korean Cinema praised the film as “one of the most beautifully designed and lushly filmed Korean productions ever made.”

Here’s an interesting anecdote: According to a Mwave article, director Yoo Ha didn’t want to cast Lee in the lead role because he thought Lee’s debut performance in the TV series Boys Over Flowers was a touch clichéd and corny, and that he was too attractive. However, after being persuaded by his wife, Yoo concluded that the actor with a “flower boy” image transitioning into a junk dealer in his picture might have a substantial impact. His assessment was accurate. We are all aware.

The Beauty Inside (2015) – Baek Jong-yeol

This one is a cute romantic comedy, but clearly very Korean in terms of the surprise components, which are a mainstay of the country’s cinema. Just sample the plotline: On his seventeenth birthday, Woo Jin (played by various actors) awakens to find himself with a new face and body. He is taken aback and bewildered; he confronts his mother about his new appearance, who is awestruck but accepts him sadly for who he is.

Woo Jin endures his peculiar condition with the support of his mother (Mun Suk) and best friend (Song Beck). And since then, Woo Jin – who is now a furniture designer – wakes up every day in a different body, independent of his or her age, gender or nationality. He may occasionally be a woman, a man, a child, an adult, or a foreigner even. On the inside, he remains the same, yet on the outside, he keeps changing.

Train to Busan (2016) – Yeon Sang-ho

In Train to Busan (2016), director Yeon Sang-ho puts passengers at the core of a ghoulish scenario triggered by a zombie plague inside a bullet train enroute to Busan. Seok-woo (Gong Yoo) and his daughter (Kim Soo-ahn) get engulfed in a bloodbath on board, as occupants start contracting the virus one by one. What follows is an intense melodrama that depicts panicked, frenzied activity as well as socio-political sarcasm. The film’s phenomenal success and characteristically grisly horror helped pave the way for succeeding, more horrific on-screen zombie outbreaks.

The Handmaiden (2016) – Park Chan-wook

Park Chan-wook’s erotic psychological thriller The Handmaiden, where – with the help of a pickpocket (Kim Tae-ri) – a con man (Ha Jung-woo) devises a scheme to beguile and entrap a Japanese woman (Kim Min-hee) for her riches. The Handmaiden won the 71st British Academy Film Awards for Best Film Not in the English Language. Despite significant backlash for many overtly sexual sequences involving the two lead female characters, the picture received a standing ovation at the 2016 Cannes Film Festival.

The Wailing (2016) – Na Hong-jin

Frequently termed Na Hong Jin’s masterpiece, The Wailing opens with a plague of insanity and continues as a visitor enters a small hamlet and a mystery ailment spreads. In an attempt to save his daughter, police sergeant Jong Goo (Kwak Do-won) is forced into the situation to solve the riddle. A string of horrific, inexplicable killings (which have left Jong and the local police baffled) surface as the doings of individuals who exhibit zombie-like symptoms. They are insane, inhumane, and bloodthirsty.

A Taxi Driver (2017) – Jang Hoon

This South Korean historical action-drama road movie is based on the real-life account of a taxi driver from Seoul who becomes inadvertently entangled in the 1980 Gwangju Uprising. The conversations between German journalist Jürgen Hinzpeter (Thomas Kretschmann) and Korean driver Kim Sa-bok (Song Kang-ho) constitute the narrative’s premise. While the film’s unique approach to incidents and intense emotions drew positive feedback, it was also chosen as South Korea’s nomination for Best Foreign Language Film at the 90th Academy Awards. A Taxi Driver is reportedly Korea’s twelfth highest-grossing film of all time.

The Villainess (2017) – Jeong Byeong-gil

The Villainess is an action movie, a classic thriller with plenty of imaginative and bloody battle scenes. It is insanely entertaining, risqué, crazy, and crammed with high-voltage action material surrounding an erratic act of brutal reprisal by Sook Hee (Kim Ok-bin as a highly-skilled executioner), who undertakes a crusade of violence and vengeance for the sake of her own individual liberty and painful past. What’s in store for us is teased in the opening scene, in which Sook Hee enters a hallway and slaughters a number of individuals. A must-watch.

Okja (2017) – Bong Joon-ho

The meat trade’s atrocities are the subject of the dark comedy Okja. It centers on a young girl who fosters the movie’s titular character, Okja – a bioengineered “super pig” – and sets out on a rescue mission after Okja is transported to America to save her from the meat industry’s horrific treatment of the animal. A winner of prestigious accolades, this action adventure is loaded with cinematic and CGI brilliance; a beautifully emotive and poignant saga about two species who communicate and bond through the language of love.

The Witch: Part 1. The Subversion (2018) – Park Hoon-jung

This movie is another Korean revenge thriller with classic elements of suspense. Ja Yoon (Kim Da-mi), a high-school girl with forgetfulness, strives to figure out what happened to her. This escalates to bigger issues, eventually revealing something inconceivable. A sequel to the flick, The Witch: Part 2. The Other One, was released this year on June 15th.

Swing Kids (2018) – Kang Hyeong-cheol

I was initially drawn to the Swing Kids because of D.O (EXO), but as it developed, the Korean musical drew me in more. The drama takes place in the Geoje detention facility during the Korean War in 1951. Ro Ki-soo (D.O), a wayward North Korean soldier, finds love while tap dancing after meeting Jackson (Jared Grimes), an American officer and former Broadway star entrusted with forming a dance group. Subsequently, the troops at the camp put on a tap-dance show to relieve themselves and the captives from the rigors of war.

Parasite (2019) – Bong Joon-ho

The first South Korean film to win an Academy Award, Parasite is also one of the only three movies to ever win both the Palme d’Or and the Academy Award for Best Picture. It encircles a newly developed bond between the affluent Park family and the impoverished Kim family, who intend to obtain employment by feigning to possess good academic credentials. Parasite received numerous more prestigious awards for its biting context, avarice, and class prejudice.

In the book Coronavirus Capitalism Goes to the Cinema, author Eugene Nulman notes that the origin of the term “parasite” originally relates to “one who eats at the table of another,” which is shown in one of the scenes in the film.

I saw the picture in a theatre, where it received a standing ovation as the end credits began to roll. I can’t tell you how flabbergasted I was by the epilogue, unable to comprehend what I had just seen –a tongue-in-cheek, rich, and expertly crafted tapestry of class resentment.

Extreme Job (2019) – Lee Byeong-heon

This runaway hit depicts a team of narcotics detectives led by Captain Ko (Ryu Seung-yong) on an incognito mission to take down a major drug cartel. When everything seems to be going smoothly, Ko receives word that their base, a chicken restaurant, will close shortly. While Ko and his associates plan to buy it and use it for their clandestine mission, their homemade rib marinade for sticky chicken becomes an instant hit, skyrocketing the eatery to overnight fame.

Minari (2020) – Lee Isaac-chung

A Korean-American family, in pursuit of their American dream, relocates to a small farm in Arkansas. When their sneaky, noxious, but loving grandma (Youn Yuh-jung as Soon Ja) moves in, everything flips. In the midst of changing circumstances and stark truth, Minari exemplifies the undeniable tenacity of kinship and familial ties. The film’s strongest point is the relatability of its context.

It garnered positive reviews from critics and was nominated for six Academy Awards, with Youn becoming the first Korean to win an Academy Award for acting.

Voice of Silence (2020) – Hong Eui-jeong

This popular black comedy from Eui Jeong Hong depicts a turbulent scenario comprising Tae In (Yoo Ah-in), a young guy who never speaks, and Chang Bok (Yoo Jae-myung), who works as a cleanup crew member for a criminal enterprise. One day, they are given a mandate by their superior to look after a kidnapped 11-year-old girl, Cho Hee (Moon Seung-ah). Tae accepts the responsibility and begins to open up to Cho, but loses communication with Chang, who was meant to return with Cho’s compensation.

Space Sweepers (2021) – Jo Sung-hee

The crew of the Victory, a crashed spaceship, is the centerpiece of Space Sweepers, a story set in 2092. After finding it in a rubble hunt, the group (starring Song Joong-ki, Kim Tae-ri, Jin Sun-kyu, and ‘Bubs,’ a modified military robot) discovers a seven-year-old girl inside – perhaps a humanoid robot – being sought by the ‘UTS Space Guards’ and plans a ransom demand in exchange. Point of fact: this stunningly spectacular sci-fi movie is Korea’s first film set in space.

Broker (2022) – Hirokazu Koreeda

Broker might be described as an intensely emotional environment. The film won the Ecumenical Jury Award, with Song Kang-ho bagging Best Actor at the Cannes Film Festival, 2022. The plot centers on people linked to baby boxes, who permit babies to be discreetly dropped off and attended to by others.

Decision to Leave (2022) – Park Chan-wook

This is a swoon-worthy romantic thriller flick about an investigator (Park Hae-il) who, while probing a man’s death in the mountains, encounters and falls in love with the deceased person’s intriguing widow (Tang Wei). This Park Chan-wook film was an official selection at the 2022 Cannes Film Festival, where Park collected the Best Director Award. It was also South Korea’s submission for Best International Feature Film at the 95th Academy Awards.