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CGV·Megabox Movie Tickets Off 6,000 Won, to Release Another 2.05 Million Vouchers on the 8th

CGV·Megabox Movie Tickets Off 6,000 Won, to Release Another 2.05 Million Vouchers on the 8th

Starting at 10 a.m. on the 8th, major theater apps will hand out up to two tickets per person on a first-come, first-served basis… Watch for early sellouts
A 2.05 million-ticket gamble to jolt an ailing theater scene… The 'golden time' is 10 a.m. on the 8th The government’s large-scale theater “life support” is set to restart. The Ministry of Culture, Sports and Tourism and the Korea Film Council have confirmed a plan to distribute 'second movie...
| James choi
Interview: Rising Star Choi Hyun-wook of ‘Notes from the Last Row’ ②

Interview: Rising Star Choi Hyun-wook of ‘Notes from the Last Row’ ②

※ This interview with 〈Notes from the Last Row〉 star Choi Hyun-wook continues from Part 1. 〈Notes from the Last Row〉 sets up Lee Gang’s decision to take revenge after an offhand remark from Heo Mun-o, whom he met at the orphanage as a child, becomes a wound.
| Kim Ji-yeon
[Interview] Rising star Choi Hyun-wook takes on a tiger-like co-star in 'Notes from the Last Row' ①

[Interview] Rising star Choi Hyun-wook takes on a tiger-like co-star in 'Notes from the Last Row' ①

Choi Hyun-wook, born in 2002, squares off with Choi Min-sik, born in 1962, in Netflix's 〈Notes from the Last Row〉 — and, furthermore, few expected he'd end up literally playing on top of the veteran; still, he never gives ground.
| Kim Ji-yeon
Interview: Choi Min-sik Lays Bare the Raw Face of an Inferiority Complex in 〈Notes from the Last Row〉, Part 1

Interview: Choi Min-sik Lays Bare the Raw Face of an Inferiority Complex in 〈Notes from the Last Row〉, Part 1

Forty-five years into his career, Choi Min-sik can still reveal a new side. In Netflix’s 〈Notes from the Last Row〉, he trades his usual untouchable charisma for the exposed, raw face of an intellectual consumed by an inferiority complex — a petty man trapped in his own world and steeped in a sense...
| Kim Ji-yeon
[Photo &] From Choi Min-sik in “Oldboy” to “The Last Line Boy,” a luxury performance and a master’s gaze

[Photo &] From Choi Min-sik in “Oldboy” to “The Last Line Boy,” a luxury performance and a master’s gaze

A professor consumed by jealousy and resentment. Choi Hyun-wook, 40 years her junior, earns lavish praise as the master pursues authenticity over box-office results through his acting philosophy
The weight of a tongue that brings disaster, from “Oldboy” to “The Last Line Boy” The Netflix original series “The Last Line Boy”, starring actor Choi Min-sik, brings back the lingering impact of “Oldboy,” a landmark work in the history of Korean cinema.
| James choi
Disco King ‘Village People’ Vocalist Victor Willis Dies at 74

Disco King ‘Village People’ Vocalist Victor Willis Dies at 74

The main vocalist of ‘Village People’ and co-writer of legendary hits ‘Y.M.C.A.’ and ‘Macho Man,’ as well as a charismatic police-officer look A maestro who led the disco era of the 1970s to its golden age leaves the world Deep mourning across the global pop world… “A hero who delivered the most joyful dance to humanity, transcending generations and borders”
Victor Willis (Victor Willis·74), the main vocalist and co-founder of the legendary American six-member group ‘Village People,’ which shook club scenes and the pop world around the globe in the 1970s and led disco music’s golden age, has died.
| Yangsimoh
Choo Ah-young's Music Box: How 'Marty Supreme' and 1980s New Wave Lay Bare Capitalism's Script

Choo Ah-young's Music Box: How 'Marty Supreme' and 1980s New Wave Lay Bare Capitalism's Script

I'm drawn to film music. Sometimes music communicates a character's intimate emotions that images and dialogue alone cannot convey. It can become a window onto a creator's hidden intent. For me, understanding film music has been one way into a movie.
| Chua-young
Review: Kim Min-ha Leads ‘Hana Korea,’ as Cast and Filmmakers Discuss the Film at Seoul Press Event

Review: Kim Min-ha Leads ‘Hana Korea,’ as Cast and Filmmakers Discuss the Film at Seoul Press Event

〈Hana Korea〉 tells one of Korean cinema’s most familiar stories in one of its most unfamiliar forms: a film by a Danish director, set in Seoul, about a North Korean defector. At times it unfolds like a Scandinavian film, yet its setting and faces are unmistakably Seoul, with Kim Min‑ha at the...
| Kim Ji-yeon
Interview: Director Yu Eun-jeong Says the House in 〈Shadow Child〉 Was Designed by Kim Chung-up

Interview: Director Yu Eun-jeong Says the House in 〈Shadow Child〉 Was Designed by Kim Chung-up

※ 〈Shadow Child〉 director Yu Eun-jeong interview continues from Part 1. 〈Shadow Child〉 recalls your earlier film 〈The Night's Door Opens〉. Both films depict death as a dark realm, yet each also takes a fundamentally affirmative view of existence — I saw similar imagery running through both.
| Seongchan Eol
[Interview] “I believed the box-office myth of 100 years would happen again.” Director Yasuda Junichi of “Samurai Timeslipper” ①

[Interview] “I believed the box-office myth of 100 years would happen again.” Director Yasuda Junichi of “Samurai Timeslipper” ①

With a production budget of 3 million yen (about 28.5 million won), the film pulled in a staggering 3 billion yen (about 28.4 billion won) at the box office, rewriting Japanese film history.
Even watching it again is surprising. 〈Don’t stop the camera. 〉(2017) is the case in point. With a modest production budget of 3 million yen (about 28. 5 million won), the film—made as a workshop project and initially screened in two theaters—went on to rake in a whopping 3 billion yen (about 28.
| 이화정