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The SBS drama 'Mr. Kim'—which wrapped up with the top viewership rating of '23. 1%' for actress 'Seo Soomin'—was her debut work that opened the door to a career in acting in a big, forceful way. The process of a teenage girl who had racked up '3.

The trailer for 〈Hope〉 promises a showdown between humans and aliens. Instead, director Na Hong-jin delays the alien’s appearance until nearly an hour into the film and focuses first on how a stray rumor spirals into collective panic.

※ This interview with 〈The East Palace〉 star Nam Joo-hyuk continues from Part 1. You made Gu-cheon look noticeably different in the real world and in the realm of spirits. How did you approach the styling differences.

BigHit Music’s next driving force, the group ‘Cortis’, is finally taking off on the global stage. On the 18th and 19th, Cortis will kick off its first solo concert tour ‘PUT YOUR PHONE DOWN’ at Incheon’s Incheon International Airport.

I'm obsessed with subculture. Not just films, but webtoons, games, comics and animation — anything with fresh stories, settings or characters, I check it out first. I opened the world of fandom through comic books, moved on to e-books, and now read webtoons on my phone; I suppose I'm an "adult fan.

※The interview with 〈Hope〉 director Na Hong-jin continues from Part 1. ※This interview contains spoilers and interpretations of the ending. Before the film was finished, you said that the actors who play the aliens—including Michael Fassbender and Alicia Vikander—are the protagonists.

※〈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...

The pressure of massive technology capital could not stifle the work’s accusations against power. The film ‘Artificial ’, which dissects the true face of the U. S. artificial intelligence empire ‘OpenAI’, finally makes it to the big screen after pushing past Big Tech’s blunt refusal.

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.