Search results for "Interview"

Director Na Hong-jin said he turned to aliens in 〈Hope〉 after exploring supernatural beings in 〈The Wailing〉 (2016). Speaking with Cineplay in Jongno District, Seoul, on the afternoon of the 7th, director Na Hong-jin discussed the release of 〈Hope〉 and the story behind the film.

Director Na Hong-jin said he is still revising 〈Hope〉 ahead of its July 15 release, continuing to work on the film's sound and visuals even after its press screening.CinePLAY met with director Na Hong-jin at an undisclosed location in Seoul's Jongno District on the afternoon of the 7th to discuss...

※ 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.

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.

※〈Notes from the Last Row〉 actor Choi Min-sik interview continues from Part 1. Among viewers' reactions to 〈Notes from the Last Row〉, many say, "It feels like my most embarrassing, hidden complex has been stripped bare and exposed — it's funny but very uncomfortable.

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...

※ 〈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.

What if you met someone who looked exactly like a loved one you had lost? That familiar premise has been reshaped into an original film with a fairytale-like setting: 〈Shadow Child〉, which opened on July 1. 〈Shadow Child〉 follows Geum-ok (Im Soo-jung) after her eldest daughter, Su-ryeon — who was...

This is a structure that connects the filming set of the late Edo period with that of a modern-day historical drama. The former is an era in which the shogunate was in decline ahead of the Meiji Restoration, while the latter is a period that came after the heyday of 1970s-80s historical dramas—when...

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.