Director Kim Yang-hee and actor Yang Ik-june discuss The Poet and the Boy as a gentle portrayal of same-sex affection, shifting social attitudes toward homosexuality in Korea, and resisting fixed labels. They address casting risks, performance choices, poetry as emotional structure, and the role of film in reflecting gradual human-rights change. [Read More]
Category: Interviews and features (page 2)
Jeon Go-woon interview: fragility, freedom and refusing norms
Director Jeon Go-woon discusses Microhabitat as a story about choosing personal values over stability. She explains Miso’s refusal of conventional comfort, the symbolism of ex-musicians and youth, male vulnerability, collaborative character-building with actors, and the realities of making independent films within tight economic and emotional constraints. [Read More]
The end of the journey: desire, recognition and redemption in BTS’s “IDOL”
Dr Colette Balmain examines the culmination of the BTS Love Yourself series: “IDOL” is the lead single from BTS’s final album in the “Love Yourself” series. The series comprises one extended storyworld music video, Love Yourself 起 Wonder; one mini album, Love Yourself 承 Her; one full length album, Love Yourself 轉 Tear; and one … [Read More]
Lee Wan-min and Kim Sae-byuk interview: Jamsil — memory, feminism, and independent Korean cinema
Director Lee Wan-min discusses Jamsil’s use of colour, memory, fragmented time, feminism, and the realities of making independent films amid funding and industry barriers. Actress Kim Sae-byuk reflects on choosing meaningful stories, balancing independent and commercial work, and the collaborative relationship at the film’s core. [Read More]
Bae Chang-ho interview: censorship, change, and life stories in Korean cinema
Director Bae Chang-ho reflects on the evolution of his film-making career and developments in the industry and audience preferences. He discusses changes in his style, a focus on ordinary lives and love, collaborations with his wife Kim Yoo-mi, investor-driven constraints, and why his films’ sincerity was shaped by hardship rather than budget or freedom. [Read More]
Kang Yoon-sung interview: real crime, action and commercial storytelling
Director Kang Yoon-sung discusses The Outlaws, from its real-life origins and research-driven realism to stripped-back characterisation and action-led storytelling. He explains casting choices, humour and violence balance, colour-coded gangs, funding challenges, and how editing, choreography, and true stories shaped his approach to commercial Korean cinema. [Read More]
Korea – The Antifragile Kingdom
Editor’s note: every now and then Matthew Jackson submits a cracking article from out of nowhere. Here’s one such article which, if I may paraphrase, wonders whether maybe han is healthy. I hope it’s not too long before the next one! The author and philosopher Nicholas Nassim Taleb (of ‘Black Swan’ fame) developed a concept … [Read More]
Director Park Hong-min interview: “we were all trying to express our loneliness”
Director Park Hong-min discusses A Fish and Alone, tracing their roots in loneliness, memory, and self-analysis. He addresses the film education system in Korea and the struggles of truly independent filmmaking, and talks about casting choices, shamanism, long takes, handmade 3D and a commitment to personal questions over commercial formulas.Director Park Hong-min discusses A Fish and Alone, tracing their roots in loneliness, memory, and self-analysis. He addresses the film education system in Korea and the struggles of truly independent filmmaking, and talks about casting choices, shamanism, long takes, handmade 3D and a commitment to personal questions over commercial formulas. [Read More]
Lee Jang-ho interview: censorship, sexuality and resistance in Korean cinema
Lee Jang-ho discusses state censorship from the colonial era through the 1990s, the enforced transformation of Declaration of Idiot, and his turn to sexuality as a tool of anti-establishment expression in the 1980s. He reflects on Shin Sang-ok’s abduction, North Korean filmmaking, and argues that contemporary Korea still harshly penalises social critique. [Read More]
Actor Baek Yoon-sik interview: career flow, creative choice, defining roles
Actor Baek Yoon-sik reflects on moving between theatre, television, and cinema, returning to film with Save the Green Planet. He discusses choosing challenging roles, respecting scripts, limited improvisation, and working on politically and socially charged films (such as The President’s Last Bang), framing acting as creative labour shaped by history, collaboration, and personal judgment. [Read More]
Jung Woo-sung and Kim Sung-soo interview: “Hyung, this is really tough!”
Actor Jung Woo-sung and director Kim Sung-soo discuss Asura: The City of Madness, focusing on its fictional setting, extreme characters, and themes of power, corruption, and moral collapse. They reflect on their long collaboration, challenging performances, shifting career choices, and the responsibility of senior artists to support new filmmakers. [Read More]
Ryoo Seung-wan interview: Veteran, action cinema and imagined justice
Director Ryoo Seung-wan discusses Veteran as a fantasy of justice where power can be defeated, his shift toward humour, casting Hwang Jung-min and Yoo Ah-in, and plans for sequels. He reflects on audience appeal, realistic action choreography, and his view of action as the core language of cinema. [Read More]
Bae Doo-na interview: “I think I’m good at acting silently”
Bae Doo-na discusses A Girl at My Door as a critique of social prejudice, isolation, and marginalisation. She reflects on supporting challenging Korean films, choosing directors over scale, working across Korean and international cinema, her preference for expressive, non-verbal acting, and formative projects from Barking Dogs Never Bite to Sense8. [Read More]
Kwak Kyung-taek quizzed at the first LKFF on Typhoon, filming in Russia and more
Director Kwak Kyung-taek discusses the personal and political inspiration behind Typhoon, sharing stories of filming in Thailand and Russia, near-misses with natural disasters, and the challenges of producing one of Korea’s most expensive films. He also reflects on audience reactions, international perspectives, and his plans for future projects beyond big-budget action cinema. [Read More]
2015 Travel Diary day 11: a visit to Studio MWP
A behind-the-scenes glimpse inside Studio Meditation with a Pencil, home of Green Days and This Road Called Life. Director Ahn Jae-huun shares insights on upcoming projects, including A Thousand Years Together and short story adaptations Shower and The Shaman Sorceress, while visitors discover the charming, pencil-filled world where Korean animation comes to life. [Read More]
An interview with Sora Kim-Russell, translator of Hwang Sok-yong’s Princess Bari
Those of you who came along to the London Book Fair last year and were tantalised by seeing a translation of a passage from Hwang Sok-yong’s Princess Bari – at the time unpublished in English, and with no indication even that any more of the book had been translated – will be delighted by this … [Read More]