The Evolution of K-Cinema: A Conversation with Oldboy Director Park Chan-wook

At 60 years old, South Korean director Park Chan-wook, famous for his psychological thrillers, has a deep understanding of revenge. He has often pondered how he would seek retribution, lying awake at night thinking about those who have wronged him. "Perhaps I create the type of movies that I do to prevent myself from acting on those feelings," Park shared with CNN during his recent filmmaking masterclass at the M+ museum in Hong Kong.

Hoa Xuande and Robert Downey Jr. star in "The Sympathizer," an upcoming historical black comedy drama series developed by Park and Don McKellar.

HBO's latest project is an adaptation of Viet Thanh Nguyen's Pulitzer Prize-winning novel "The Sympathizer," which tells the story of a half-French, half-Vietnamese communist spy. Co-showrunner and executive producer Park, along with Canadian actor and filmmaker Don McKellar, have brought together a star-studded cast including Robert Downey Jr., Sandra Oh, and Hoa Xuande. The adaptation follows the life and moral struggles of The Captain, a North Vietnamese double agent who flees to the United States at the conclusion of the Vietnam War and continues to spy on a community of South Vietnamese refugees. (HBO is owned by Warner Bros. Discovery, CNN's parent company.)

"Discussing what drew him to the project, Park emphasized the significance of South Korea's participation in the Vietnam War, stating, "Americans may not know well, but the fact that South Korea participated in the Vietnam War is a very significant event for Koreans." He added, "A country divided into two, suffering a severe ideological crisis... and going through war, civil war... South Korea has been through such tragedy as well, so this didn't feel like someone else's story to me."

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Park Chan-wook reflects on "Oldboy" and his latest projects with CNN's Kristie Lu Stout.

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Everything old is new again

As global interest in South Korean pop culture continues to grow, the country's domestic and diaspora cinema is also gaining international recognition, with its directors increasingly making a name for themselves overseas. According to Park, the tumultuous recent history of South Korea, which saw a shift from dictatorship to democracy in the late 1970s and 1980s, along with the subsequent easing of censorship, has played a role in the creation of the compelling movies produced by Korean directors in recent years. "We are people who have experienced a deeper and wider range of emotions," he stated. "This in itself may not be a positive thing, but I do believe it contributes to the quality of our movies and dramas."

Additionally, Park addressed the question of why good movies did not immediately emerge after democratization, explaining that it took 10 to 20 years for creativity to flourish. He suggested that the previous generation, accustomed to censor-based thinking, struggled to transition into a creatively free environment, and that it was only when the following generation, raised in an era of creative freedom, became filmmakers that true artistic expression began to thrive.

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This new generation of directors includes Bong Joon Ho, whose film "Parasite" offers a sharp portrayal of class inequality in South Korea and has won four Oscars, including Best Picture, in 2020. Another Korean American director, Lee Isaac Chung's "Minari," tells the story of a Korean immigrant family in rural Arkansas and received six nominations, winning one Academy Award for Youn Yuh-jung in the best supporting actress category a year later.

In the fall of 2021, "Squid Game," directed by Hwang Dong-hyuk, captivated audiences with its thrilling storyline of financially destitute characters competing in deadly children's games, becoming Netflix's most-watched TV series to date. According to the streaming giant, over 60% of all Netflix members watched Korean titles in 2022.

Director Park, honored as best director at Cannes in 2022 for "Decision to Leave," credits Bong and Hwang for their significant roles in bringing Korean TV and cinema to the world stage. He emphasized that their focus was not specifically on international appeal, but rather on tapping into the universal emotions and situations that resonate with people worldwide. According to Park, this approach is what elicits sympathy from viewers around the globe.

Kim Min-hee and Kim Tae-ri in "The Handmaiden" (2016).

The work of Park explores the theme of the place and treatment of women in society, which resonates both in South Korea and internationally. Collaborating with female screenwriter Jeong Seo-Kyeong, they create complex, compelling, and relatable female characters in many of his biggest hits. In "The Handmaiden," they display the potential of a woman's sexuality and autonomy, while in "Decision to Leave," Park subverts perspectives by starting with the "full-on male gaze" of the male protagonist before switching to that of the female lead in the second act.

Park discussed the balance between male and female characters, emphasizing the evolution of the female lead in K-dramas. She stated, "The rise of the K-drama heroine reflects a shift from the female character being a mystery for the male protagonist to solve."

He may not label any of his movies as feminist, but he does believe that his films portray his point of view and what he believes is right. Thus, he considers himself a feminist and believes that his movies reflect that. He clarifies that portraying women as kind, heroic, and righteous is not what makes a movie feminist. Instead, he believes that a feminist movie portrays women as multifaceted, including their mistakes, bad decisions, and foolishness, while also depicting them as autonomous, independent, and complex characters. This, to him, is what makes a movie feminist.

Riding the Korean wave

Perhaps it is Park and his team's remarkable ability to transcend language barriers while tackling themes of redemption and justice that has kept movies like "Oldboy," which marked its 20th anniversary last year, as cult favorites. Park believes that their appeal is not merely rooted in shock value (consider the famous "Oldboy" scene in which vengeful protagonist Oh Dae-su eats a live octopus) or novelty (the films' celebrated single-shot, close quarters fight scene that has been compared to a video game), but rather in the universality of human emotions and timeless stories that give his films lasting power.

Choi Min-sik as protagonist Oh Dae-su in "Oldboy" (2003).

In recent years, streaming giants such as Netflix and Disney+ have shown interest in K-cinema and have increased their investments in the genre. Walt Disney Company Korea's Kim So-youn announced in a press conference that funding for the supernatural spy series "Moving" and similar genres would gradually increase. Additionally, Netflix revealed plans to invest $2.5 billion over the next four years to produce more Korean movies, dramas, and reality shows.

Netflix's co-CEO, Ted Sarandos, has expressed that stories produced in South Korea are emblematic of the global cultural zeitgeist, pointing to the success of shows like "Squid Game," "The Glory," and "Physical: 100." Following this, the streaming service announced that Park would be co-writing "War and Revolt," a Korean thriller set in the late 16th century that depicts the story of two childhood friends who become enemies. Park, the director of the upcoming series, praised Netflix for supporting his creative vision without significant interference, noting that this is his most costly production to date.

Meanwhile, "Moving" has recently become Disney+'s first major Korean success. Lead star Ryu Seungryong has shared some insights on why this series has resonated with audiences.

Once his two most recent television projects are completed, Park is looking forward to transitioning back to the big screen, with upcoming productions in both South Korea and the United States. "I have a number of projects in development, and while I'm not sure which one will come next, they include a Western, a sci-fi action film, and a psychological thriller," he revealed.

Park also expressed doubt about the use of AI in the film industry. "I am skeptical about whether AI can truly create a brilliant and artistic piece," he stated, emphasizing that he believes the technology cannot and should not replace the role of writers and producers.

This story includes contributions from CNN's Kristie Lu Stout, Jadyn Sham, Gawon Bae, Laila Shahrokhshahi, and Thomas Page.