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Korea Herald
17-07-2025
- Entertainment
- Korea Herald
Finest chillers for summer
When summer heat calls for spine-tingling chills, three standout Korean horror films deliver the perfect temperature drop Summer in South Korea brings a peculiar cultural tradition: Everyone heads to the cinema for a good scare. It's a seasonal ritual where horror films provide an icy jolt to counter the sweltering heat, trading a cool breeze for shivers down the spine. With scorching heat waves expected, it's the perfect time to explore some home-grown horror that will make you forget just how unbearably muggy it is outside. Korean horror has carved out a distinctive niche in the genre, favoring psychological dread over jump scares and social commentary over simple frights. These three films showcase the breadth and sophistication of K-horror at its finest. "The Wailing" (2016) Na Hong-jin's sprawling supernatural thriller feels less like a traditional horror film than a fever dream that won't let go. When a mysterious illness triggers violent outbursts in a rural mountain village, bumbling cop Jong-gu (Kwak Do-won) finds himself way out of his depth, especially after his daughter falls ill. What starts as a police procedural spirals into something far stranger. A Japanese stranger living in the woods (Jun Kunimura) becomes the prime suspect, but Na keeps pulling the rug out from under us. Is this xenophobia run amok? Demonic possession? Mass hysteria? The film stubbornly refuses to offer simple answers. At 156 minutes, "The Wailing" takes its time ratcheting up the dread, layering on portents and omens until the tension reaches breaking point. When a flamboyant shaman (Hwang Jung-min) arrives in a brand-new sport utility vehicle to perform an exorcism, the film reaches a crescendo — drums pounding, swords flashing, cross-cutting between competing rituals in a sequence that will leave your ears ringing. Na doesn't just pile on the scares; he's after something more unsettling. This is horror as an existential crisis, where the real terror comes from not knowing what to believe or whom to trust. By the time the credits roll, you will be questioning everything you thought you understood. Available on Amazon Prime and Apple TV with English subtitles, Netflix in select territories. "A Tale of Two Sisters" (2003) Before the likes of "Oldboy" and "Parasite" brought Korean cinema to global prominence, Kim Jee-woon's elegant psychological thriller had been quietly drawing attention from horror aficionados worldwide. This haunted house story — or is it? — follows sisters Su-mi (Im Soo-jung) and Su-yeon (Moon Geun-young) as they return home from a mental hospital to face their icy stepmother (Yum Jung-ah). Kim takes the bones of a traditional Korean folktale that gave name to its Korean title, "Janghwa, Hongryeon," and spins it into something far more complex. The house itself becomes a character — all oppressive floral wallpaper and shadowy spaces where terrible things lurk. Or might lurk. The film plays its cards so close to the chest that you are never quite sure what is real and what is bleeding through from damaged psyches. What sets "A Tale of Two Sisters" apart is its emotional sophistication. This is not just about things going bump in the night — though when they do, they're genuinely unnerving. Kim uses horror as a vehicle for exploring grief, guilt and the ways families can destroy themselves from within. The performances, especially from Im as the fiercely protective Su-mi and Yum Jung-ah as the stepmother, ground even the most surreal moments in raw feeling. The film's deliberate pacing might test your attention span, but stick with it. When the reveals come, they land with devastating force, recontextualizing everything that came before. It is the rare horror film that becomes sadder the more you reflect on it. Available on Amazon Prime and Apple TV with English subtitles. "Three... Extremes" (2004) This anthology brings together three of Asia's most provocative directors for a horror buffet that ranges from queasy to sublime, including Korea's own auteur Park Chan-wook. Each segment pushes boundaries in its own distinctive way, making for a collection that is uneven but never boring. Fruit Chan's "Dumplings" kicks things off with a tale of vanity that will put you off dim sum for life. When an aging actress seeks out mysterious chef Aunt Mei (Bai Ling), she discovers the secret ingredient in those youth-restoring dumplings is ... let's just say it's not pork. Chan mines dark comedy from his stomach-churning premise while delivering biting satire about how the wealthy literally consume the poor's misfortunes. Park Chan-wook's "Cut" traps a film director (Lee Byung-hun) and his pianist wife (Kang Hye-jung) in their own home with a deranged extra (Lim Won-hee) who's devised an ingeniously sadistic game to punish the couple. It is quite frankly the weakest entry, but Park's visual flair — those impossible camera moves, that candy-colored production design — keeps things immersive even when the story wobbles. The surprise standout is Takashi Miike's "Box," which trades the director's usual excess for something more subtly unsettling. A woman plagued by nightmares about being buried alive (Kyoko Hasegawa) confronts memories of her circus-performer past. It is abstract, dreamlike, and achieves a kind of eerie beauty that lingers long after the over-the-top shocks fade.
Korea Herald
22-06-2025
- Entertainment
- Korea Herald
Korean horror films tap everyday anxieties for spine-chilling thrills
Summer's crop of domestic frights trades supernatural scares for all-too-familiar urban nightmares Summer in South Korea traditionally means one thing: audiences flocking to darkened theaters for a good scare. It's a peculiar cultural ritual where horror films offer an icy jolt to counter the sweltering heat — a shiver down the spine in place of a cool breeze. But this year's slate of Korean horror marks a departure from the genre's usual paranormal suspects. Gone are the vengeful spirits and timeworn curses that once haunted screens. Instead, filmmakers are leaning into the anxieties of modern city life, spinning terror from the everyday frustrations that haunt urban dwellers. These films suggest that in a country as densely populated and tightly packed as South Korea, the real horrors might not be otherworldly — they might just be the people around you. Leading the charge is "Noise," opening June 25. Already a buzzed-about title on last year's international festival circuit, including Sitges and Fantasia, the film zeroes in on one of Korea's most maddening urban grievances: the relentless, brain-rattling thuds from upstairs neighbors. Director Kim Soo-jin transforms this all-too-familiar nuisance into a mounting sense of claustrophobic dread, turning domestic discomfort into a full-blown horror show. In a country where more than two-thirds of the population lives in apartment complexes, inter-floor noise complaints are no laughing matter — they've sparked violent altercations, stabbings and arson attacks, some fatal. The film roots its horror in this simmering tension, following the perspective of a hearing-impaired woman (played by Lee Sun-bin) who's searching for her missing sister. Her investigation leads her into a labyrinthine high-rise where every creak, shuffle and muffled knock feels like a threat, and even silence becomes suspicious. Backing the film's psychological horror is a razor-sharp soundscape designed by the veteran audio engineer behind "The Wailing" (2016) and "Gonjiam: Haunted Asylum" (2018). From the stickiness of tape being peeled to the hair-raising scratch of nails on wallpaper, each sound is fine-tuned to shred nerves. Netflix joins the fray on July 18 with "Wall to Wall," another thriller that draws on noise-fueled paranoia. It's one of seven original Korean films the streaming juggernaut is rolling out this year — and the lone horror entry — part of its broader push into the Korean film industry at a time when local theaters are reeling from record-low attendance. Kang Ha-neul, a leading man known for his range across romance and thrillers, plays an everyman who bets everything — savings, pension, even family property — to secure a modest apartment in Seoul. But his dream home quickly devolves into a psychological minefield as neighbors turn hostile and cryptic sounds pierce the thin walls. Apart from the scares, the film promises a timely commentary on South Korea's ruthless housing market and the emotional toll of securing — and keeping — a piece of it. (Fittingly, the Korean title "84 Square Meters" refers to the standard size of a middle-class unit here.) Rounding out the lineup is "Ghost Train," which premiered at last year's Busan International Film Festival. The anthology turns Korea's ubiquitous subway system — the daily artery for millions of commuters — into a haunted maze of uncanny encounters. Despite the title, the horror here is grounded in the all-too-familiar: drunken passengers, flickering platform lights and vending machines that seem just a little too creepy. Joo Hyun-young, best known for her comedic skits on "SNL Korea," makes her feature film debut as a clout-chasing YouTuber hunting for viral horror content at a notoriously cursed station. The film opens in local theaters on July 9.
Daily Record
17-06-2025
- Entertainment
- Daily Record
Horror film fans say 'haunting' movie is 'one of the best' they've ever seen
The Wailing is a Korean horror movie that has been dubbed one of the best in the genre by fans who claimed it "stayed with them" long after the credits had rolled Fans claim this spine-chilling horror film is one that "stays with you" long after the credits roll, and its box office success certainly attests to that. The Wailing, a Korean horror flick, revolves around a policeman probing a series of peculiar deaths and sudden illnesses in a secluded town. The strange epidemic has led villagers to lose their sanity, murder their loved ones, and now, his own daughter is among the possessed. A review on Rotten Tomatoes says: "Puts all other movies claiming to be 'enigmatic horror' to shame. Every moment is carefully constructed, and yet you are never quite sure what you are looking at or where things stand. The last 20 minutes or so contain a series of reversals and twists so stunning that you won't recover for days." Upon hearing rumours that a Japanese man residing in the remote mountains could be the malevolent spirit behind the chaos, Jong-Goo decides to confront him. They stumble upon eerie pictures of the outbreak's victims plastered across his walls and a guard dog barring them from proceeding further until the sinister man appears. As his daughter's condition deteriorates, Jong-Goo pleads with the man to leave their village permanently, but his response is a dead goat hanging by their gate. When his daughter subsequently murders their neighbour, Jong-Goo is left pondering the extent of the evil spirit's ruthlessness and how he can possibly put an end to this nightmare, reports the Mirror US. This film will linger in your mind long after the credits have rolled. It's easily one of the most memorable and haunting horror films I've ever seen and well worth the lengthy runtime. "Another viewer wrote: "One of the greatest horror films I've ever seen. It's so original and stylish and amazingly executed with the writing, acting, and camera work. And the ending is devastating. Absolute must-see!". Following its release in 2016, The Wailing garnered widespread praise from critics, who hailed the film as "imaginative" and "unsettling." It proceeded to scoop numerous awards in Korean film categories before making its mark on Hollywood. Nearly a decade since its debut, the horror flick boasts an impressive 99% score on Rotten Tomatoes, setting a new standard for Korean horror. Much of this success can be attributed to its stellar cast, which includes Chun Woo-Hee, Hwang Jung-min and Kwak Do-won in the lead role of the police officer. "Beautiful scenery, chilling atmosphere, and gave me chills, especially the ending, which was one of the best I have ever seen in a horror movie. Well done." For those seeking their next fright, The Wailing is currently available to stream on Amazon Prime.
Korea Herald
03-06-2025
- Entertainment
- Korea Herald
Ma Dong-seok's 'Holy Night: Demon Hunters' to screen at Shanghai film fest
Supernatural action flick joins international lineup at China's premier cinema event Actor-producer Ma Dong-seok's occult action film "Holy Night: Demon Hunters" has been selected for screening at the 27th Shanghai International Film Festival's Midnight Fantasy section, distributor Lotte Entertainment announced Tuesday. One of China's major cinema events, the Shanghai International Film Festival is the only Chinese festival accredited by the International Federation of Film Producers Associations. "The Wailing" (2016), "Gonjiam: Haunted Asylum" (2018), "The Roundup: Punishment" (2024) and "Exhuma" (2024) are among Korean films that previously screened in the non-competitive Midnight Fantasy section, which mainly showcases international genre cinema. This year's festival runs June 13-22. "Holy Night: Demon Hunters" follows a trio of supernatural investigators combating demonic forces. Ma plays Bau, a fighter with superhuman strength, alongside Girls' Generation member Seohyun as exorcist Sharon, and David Lee as their tech-savvy sidekick Kim Gun. The cast also includes Kyung Soo-jin and Jung Ji-so as sisters swept into the fray. Ma, also known as Don Lee, produced the film, developing the project as part of a broader genre franchise. A prequel web comic, "Holy Night: The Zero," currently runs on Naver Webtoon. The film has drawn 777,323 admissions in South Korea since its April 30 release, falling short of its reported 2 million breakeven threshold. The film is available on local streaming platforms Coupang Play and Wavve in addition to Apple TV.
Korea Herald
19-05-2025
- Entertainment
- Korea Herald
Submissions open for Mise-en-scene Short Film Festival
Korea's premier short film fest returns after four-year hiatus, revamps program with homage to landmark Korean films The Mise-en-scene Short Film Festival is accepting submissions through June 19. Filmmakers can submit works under 30 minutes, completed after Jan. 1, 2024, through the festival's online portal. Applicants must select one of five genres: social drama, romance/melodrama, comedy, horror/fantasy, or action/thriller. Finalists will be announced in September following preliminary and final jury screenings. The October event marks the festival's arrival after a four-year hiatus. Founded in 2002, MSFF suspended operations after its 20th edition in 2021. Long seen as a springboard for rising filmmakers, the festival has helped launch the careers of industry names like Na Hong-jin ("The Wailing"), Jang Jae-hyun ("Exhuma"), Yoon Jong-bin ("The Spy Gone North," "The Match") and Um Tae-hwa ("Concrete Utopia"). Now in its 21st edition, the festival is organized by film magazine Cine21 with Naver stepping in as the new main sponsor, replacing previous backer Amorepacific. For this edition, MSFF has revamped its section titles, replacing references to international cinema with nods to acclaimed Korean genre films. The social drama section has been renamed 'Take Care of My Cat,' while romance is now 'Jealousy Is My Middle Name,' comedy 'Conduct Zero,' horror/fantasy 'Epitaph' and action/thriller 'Nowhere to Hide.' "We've moved from foreign classics to Korean films of the 2000s that inspired the current generation of filmmakers," the organizers said. A new executive committee of seven filmmakers is overseeing the festival: Jang Jae-hyun, Han Jun-hee, Yoon Ga-eun, Um Tae-hwa, Lee Sang-geun, Yi Ok-seop and Cho Sung-hee.
