Production designer Ryu Seonghie discusses shaping meaning through space, colour, and symbolism; balancing realism and fantasy; working with directors like Park Chan-wook and Bong Joon-ho; navigating gender barriers, budget limits, and collaboration; and her concerns about commercial trends, sexuality, and diminishing narrative depth in contemporary Korean cinema. [Read More]
Category: Movie & TV features (page 3)
LKFF 2014: the conversations
The London Korean Film Festival is not just about getting acquainted with the latest in Korean movies. It is also an opportunity to meet some of the people behind those movies – actors, directors and producers. Opportunities for engaging with these film professionals vary: for an ever-growing group of aficionados there is the offer of round-table … [Read More]
Ahn Sung-ki interview: a life in acting
Ahn Sung-ki reflects on Korean cinema’s roots in historical trauma, its role in addressing social issues, and his career choices under censorship and change. He discusses long collaborations with Im Kwon-taek, the importance of scripts and emotional depth, evolving acting freedoms, international productions, and his belief that cinema’s power lies in moving hearts rather than scale or fame. [Read More]
Park Chan-kyong interview: Manshin, Asian Gothic and artistic autonomy
Park Chan-kyong discusses financing Manshin outside the studio system, balancing artistic freedom with commercial pressures, and his recurring focus on shamanism, tradition and “Asian gothic” aesthetics. He reflects on collaboration with his brother Park Chan-wook, the creative value of short films, digital democratisation of filmmaking, and Korea’s layered relationship with its past. [Read More]
Festival Film Review: Hwajang / Revivre
Well, I was right. Ahn Sung-ki confessed in the Q+A which followed the screening of Hwajang that one of his most difficult tasks in portraying Oh Sang-moo, a senior executive in a cosmetics company, was to project certain aspects of being old – of being blocked inside because of the swollen prostate, of being more … [Read More]
July Jung interview: loneliness, damage and connection in “A Girl at My Door”
July Jung discusses the obstacles facing female filmmakers in Korea, the precarious path to making A Girl at My Door, and her focus on loneliness, abuse, sexuality and prejudice. She explains the rural setting as a social microcosm, her collaboration with Lee Chang-dong, and her belief that intimate, local stories can achieve universal resonance. [Read More]
Bringing Kim Hoon’s Hwajang to the big screen: How to act a swollen prostate?
Im Kwon-taek set himself quite a challenge when he decided to make a movie of Kim Hoon’s Hwajang. It is a dense, concentrated and rich piece of writing – I hesitate to say “short story”, because really there’s not much narrative flow. Instead, there’s well-balanced contrast; there’s inner thoughts and emotions; there are the human … [Read More]
Kim Seong-hun interview – from relationship comedy to A Hard Day: “after ten years, the mountain changes”
Director Kim Seong-hun discusses his path from assistant director to filmmaker, the genre shift leading to A Hard Day, and how time, failure, and global cinema shaped his approach. He reflects on narrative structure, character-driven storytelling, restrained depiction of sex and violence, and challenging perceptions of Korean cinema. [Read More]
Cho Young-wuk on waltzes, playgrounds and working with Park Chan-wook
An in-depth look at film composer Cho Young-wuk, his creative process and long-standing collaboration with Park Chan-wook. From the iconic Oldboy score to live performances and audience Q&A in London, the article explores how music shapes mood, character and cinematic identity. [Read More]
Cho Young-wuk interview: motifs, process and collaboration in film music
Cho Young-wuk discusses his approach to film scoring, from early motif selection and character-focused themes to team-based composition. He reflects on collaborations with Park Chan-wook, instrument choices, gender and music, avoiding self-imitation, balancing commerce and art, and adapting styles—from classical motifs to spaghetti westerns. [Read More]
Clarice Eun-hae Ok interview: bringing a film to its completion with music
Music director Clarice Eun-hae Ok discusses her path into film scoring, close collaboration with director Oh In-chun, and the creation of Mourning Grave’s music. She explains how motifs, instrumentation, and the balance of acoustic and electronic sounds shape horror, romance, pacing, and emotional memory within a multi-genre narrative. [Read More]
Im Kwon-taek: In search of perfection
Drawing on interviews and Q&As, this piece reflects on Im Kwon-taek’s vast career, from early genre films to Seopyeonje and beyond, examining tradition, literature, Buddhism, and his lifelong pursuit of cinematic perfection. [Read More]
Seo Young-ju interview: Moebius and the power of silent performance
Actor Seo Young-ju reflects on growing from child roles into cinema-led work, favouring film over television for deeper character exploration. He discusses Juvenile Offender as a turning point, working with Kim Ki-duk on the dialogue-free Moebius, his attraction to challenging narratives, and ambitions for international acting opportunities. [Read More]
Chung Chung-hoon interview: cinematography, character and collaboration
Cinematographer Chung Chung-hoon outlines his character-driven approach to visuals, long-standing collaboration with Park Chan-wook, and balance between on-set craft and post-production. He discusses colour, contrast, technology, storyboards, working across Korea and Hollywood, and shaping imagery through drama, movement, and location. [Read More]
Park Hoon-jung interview: stories from real life
Park Hoon-jung discusses his approach to screenwriting and directing, prioritising story and character over genre, drawing inspiration from Korean society and politics, and embracing budget constraints. He reflects on violence, power structures, collaboration with directors, adapting scripts to actors, and the evolution of his craft from writer to filmmaker. [Read More]
Choi Seung-ho interview: Norigae – where justice fails
Director Choi Seung-ho discusses Norigae’s origins in real-world abuse scandals, its critique of sexual coercion and lenient sentencing, and the choice to portray injustice through a sombre tone. He addresses funding constraints, casting challenges, and how lighting, music, and explicit scenes serve the film’s social and moral intent. [Read More]