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"Parasite, NYT Readers' Choice for Best Film of the 21st Century!"

In a large-scale reader survey conducted by The New York Times , Bong Joon-ho's film was selected as the best film of the 21st century. On the 2nd , NYT announced the results of the survey titled 'Best Film of the 21st Century' conducted with over 200,000 readers.
| 김지민
[Interview] In 〈Intern〉, Choi Min-sik’s moving wrinkles reflect 46 years in the making: Part 2

[Interview] In 〈Intern〉, Choi Min-sik’s moving wrinkles reflect 46 years in the making: Part 2

※The interview with 〈Intern〉 actor Choi Min-sik continues from Part 1. In the film's second half, Gi-ho’s shout of “Snap out of it. ” at a shaken Seon-woo felt like the highlight. How did you approach acting that scene.
| Kim Ji-yeon
Jecheon International Music & Film Festival awards 15 million won grand prize to 'The Loneliest Man in That City'

Jecheon International Music & Film Festival awards 15 million won grand prize to 'The Loneliest Man in That City'

Top honor among 189 films from 45 countries; 'High Five' director Kim Jun-seok wins Musician Award 22nd Jecheon International Music & Film Festival closes: 'See you next year'
'Jecheon International Music & Film Festival' stages dazzling finale with 189 films from 45 countries The 22nd 'Jecheon International Music & Film Festival', which filled Jecheon, North Chungcheong province, with the enchanting sounds of film and music, came to a grand close on the 8th with its...
| James choi
‘Hope’ Finally Meets Moviegoers. Here’s How Cineplay’s Critics Rated It

‘Hope’ Finally Meets Moviegoers. Here’s How Cineplay’s Critics Rated It

Advance bookings alone topped 600,000. That opening-day figure shows that 〈Hope〉 has become a national talking point, not just a movie-industry event. 〈Hope〉 is the new film from director Na Hong-jin, known for the tense, audacious intensity of 〈The Chaser〉, 〈The Yellow Sea〉 and 〈The Wailing〉.
| 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
[Joo Seong-cheol’s Locker] Zombie Things That Don’t Flinch Even When Shot: Korea’s First Zombie Film, “Kwe-si” (1981)

[Joo Seong-cheol’s Locker] Zombie Things That Don’t Flinch Even When Shot: Korea’s First Zombie Film, “Kwe-si” (1981)

I can’t help but fixate on the objects in the movies. I find myself getting deeply lost in thought about why—of all things—this director, cinematographer, art director, or even the actor, placed that item in front of the camera. “Joo Seong-cheol’s Locker” is a record of the objects in films that landed on my eyes with a light, delicate stomp.
〈Gun-chae〉surpassed 3 million viewers in just 10 days. According to the Korean Film Commission’s integrated computer network, it reached the 3 million mark on May 30, its 10th day after release, four days earlier than 〈King and the Man〉, which drew 16 million viewers.
| Joo Seong-cheol
Why Do People Love “Love” in Korean Films? Korea Film Archive’s New Special Exhibition “Title Exhibition (展)”

Why Do People Love “Love” in Korean Films? Korea Film Archive’s New Special Exhibition “Title Exhibition (展)”

The Korea Film Archive (Director Mo Eun-young) will hold a new special exhibition 〈Title Exhibition (展) – Text, Typography, and Moving Images〉 at the Korea Film Museum starting May 8.
The Korea Film Archive (Director Mo Eun-young, hereafter “Korea Film Archive”) will host the new special exhibition 〈Title Exhibition (展) – Text, Typography, and Moving Images〉(hereafter “Title Exhibition (展)”) at the Korea Film Museum (located in Sangam-dong) starting Friday, the 8th.
| Joo Seong-cheol
‘Gold Land’ Production Press Conference Featuring Park Bo-young, Kim Sung-cheol, Lee Hyun-wook, Kim Hee-won, Moon Jeong-hee, Lee Kwang-soo, and Director Kim Seong-hoon Concludes Successfully!

‘Gold Land’ Production Press Conference Featuring Park Bo-young, Kim Sung-cheol, Lee Hyun-wook, Kim Hee-won, Moon Jeong-hee, Lee Kwang-soo, and Director Kim Seong-hoon Concludes Successfully!

Disney+ original series 〈Gold Land〉 wrapped up a successful production press conference in grand style on April 29 (Wednesday), right ahead of its release today.
Disney+ original series 〈Gold Land〉 held a successful production press conference in grand style today, April 29 , right ahead of its release. At the event, Park Bo-young, Kim Sung-cheol, Lee Hyun-wook, Kim Hee-won, Moon Jeong-hee, along with Lee Kwang-soo and Director Kim Seong-hoon, attended and...
| Joo Seong-cheol
Park Chan-wook’s Next Film Is a Blood-Drenched Hollywood Western… Tang Wei and McConaughey Join

Park Chan-wook’s Next Film Is a Blood-Drenched Hollywood Western… Tang Wei and McConaughey Join

Directing confirmed for “The Brigands of Rattlecreek.” A Park Chan-wook revenge drama featuring top-tier stars like Matthew McConaughey and Tang Wei all in one place.
A Blood-Soaked Western by “Park Chan-wook” Meets Hollywood’s Top-Tier Lineup Renowned filmmaker representing South Korea, director “Park Chan-wook”, returns to the global stage with a fierce “Western” set against America’s pioneering era. The U. S.
| James choi
[Joo Seong-cheol’s Lockers] Lee Cronin’s The Mummy and Murderous People Season 2 — and a Scorpion Jacket That Feels Like the Rise of Drive

[Joo Seong-cheol’s Lockers] Lee Cronin’s The Mummy and Murderous People Season 2 — and a Scorpion Jacket That Feels Like the Rise of Drive

I get hooked on the objects in movies. I can’t help but get lost in questions about why the director, cinematographer, production designer, or even the actors put that thing right in front of the camera. “[Joo Seong-cheol’s Lockers]” is a record of those movie objects that land lightly—right onto my eyes.
Watching 〈Lee Cronin’s The Mummy〉 , you can feel the full-on force of Blumhouse as it revives a franchise that seemed long dead: 〈Mummy〉. The first 〈Mummy〉 (1932), powered by the charisma of actor Boris Karloff, was basically the flagship of the “Universal Horror” era.
| Joo Seong-cheol