“Venom: The Last Dance” waltzed to a weekend win in South Korea, but failed to shake the country’s box office out of its recent torpor.
The third film in the “Venom” trilogy earned $2.66 million over the Friday to Sunday period, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). That represented a dominant 62% market share.
Over the five days since its opening on Wednesday, it built up a cumulative of $4.13 million. At that pace, the new film will struggle to overtake the $15.2 million total earned by “Venom: Let There Be Carnage” which was released in 2021 during the worst of the Covid pandemic.
That is indicative of a downturn at the Korean box office which is beginning to look like it has become structural. Across the nation, Korean cinema receipts were worth just $4.32 million over the latest weekend. By a narrow margin that was...
The third film in the “Venom” trilogy earned $2.66 million over the Friday to Sunday period, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). That represented a dominant 62% market share.
Over the five days since its opening on Wednesday, it built up a cumulative of $4.13 million. At that pace, the new film will struggle to overtake the $15.2 million total earned by “Venom: Let There Be Carnage” which was released in 2021 during the worst of the Covid pandemic.
That is indicative of a downturn at the Korean box office which is beginning to look like it has become structural. Across the nation, Korean cinema receipts were worth just $4.32 million over the latest weekend. By a narrow margin that was...
- 10/27/2024
- by Patrick Frater
- Variety Film + TV
Korean-made crime-comedy-thriller “I The Executioner,” a sequel to 2015 hit ‘Veteran,” continued to top South Korea’s weekend box office. Its victory, however, was a hollow one as Korea’s overall box office slumped to its lowest level this year.
Nationwide, Korea’s roughly 2,500 cinemas together earned just $4.39 million between Friday and Sunday.
In several previous years, the month of October has been weak for cinemas in Korea, but the latest weekend total was a lower mid-October mark than either Covid-blighted 2022 or 2023’s recovery year.
The latest figures are in line with some of the gloomy discussion at the recently-concluded Busan International Film Festival, where the difficulties currently faced by theatrical cinema and the companies that supply and distribute it, were major talking points.
“I, The Executioner” earned $1.08 million in its fifth full weekend session, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). The...
Nationwide, Korea’s roughly 2,500 cinemas together earned just $4.39 million between Friday and Sunday.
In several previous years, the month of October has been weak for cinemas in Korea, but the latest weekend total was a lower mid-October mark than either Covid-blighted 2022 or 2023’s recovery year.
The latest figures are in line with some of the gloomy discussion at the recently-concluded Busan International Film Festival, where the difficulties currently faced by theatrical cinema and the companies that supply and distribute it, were major talking points.
“I, The Executioner” earned $1.08 million in its fifth full weekend session, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). The...
- 10/14/2024
- by Patrick Frater
- Variety Film + TV
Korean-made crime-comedy-thriller “I, The Executioner,” a sequel to 2015 hit ‘Veteran,” continued its spree at the top of the South Korea weekend box office. It earned $1.68 million in its fourth full weekend session, ahead of top-ranked new release “Joker: Folie a Deux.”
“I, The Executioner” saw its market share slip to 29%, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). The latest weekend increment gives the film a $49.97 million running total since releasing on Sept. 13. That makes it the fourth highest grossing film of the year in the country, behind “Exhuma,” “The Roundup: Punishment” and “Inside Out 2,” which is still some distance ahead on $64 million.
“Joker: Folie a Deux” opened with $1.17 million between Friday and Sunday and achieved a 21% market share, according to Kobis. Over its full five-day opening run, which included Thursday’s National Foundation Day public holiday, it accumulated $3.60 million.
Released the same day (Oct.
“I, The Executioner” saw its market share slip to 29%, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). The latest weekend increment gives the film a $49.97 million running total since releasing on Sept. 13. That makes it the fourth highest grossing film of the year in the country, behind “Exhuma,” “The Roundup: Punishment” and “Inside Out 2,” which is still some distance ahead on $64 million.
“Joker: Folie a Deux” opened with $1.17 million between Friday and Sunday and achieved a 21% market share, according to Kobis. Over its full five-day opening run, which included Thursday’s National Foundation Day public holiday, it accumulated $3.60 million.
Released the same day (Oct.
- 10/6/2024
- by Patrick Frater
- Variety Film + TV
Worldwide box office September 27-29 RankFilm (distributor)3-day (world)Cume (world)3-day (int’l) Cume (int’l)Territories 1. The Wild Robot (Universal) $44.9m $53.1m $9.9m $18.1m 30 2. Devara Part 1 (various) $32.9m $32.9m $27.8m $27.8m 17 3. Beetlejuice Beetlejuice (Warner Bros) $29.6m $373.3m $13.6m $123.2m 78 4. Transformers One (Paramount) $25.9m $72m $16.6m $32.8m 62 5. Speak No Evil (Universal) $9.6m $57.7m $5.3m $29.6m 78 6. Megalopolis (various) $6.1m $6.1m $2.1m $2.1m 11 7. The Substance (Mubi) $5.4m $14.8m $3.6m $7.9m 36 8. Never Let Go (various)
$4.6m $10.9m $2.4m $2.7m 28 9. The School Of Magic Animals 3 (various) $4.5m $5.6m $4.5m $5.6m 2 10. Veteran 2: I, The Executioner (various) $3.7m $44.3m $3.5m $44.2m 4
Credit: Comscore.
$4.6m $10.9m $2.4m $2.7m 28 9. The School Of Magic Animals 3 (various) $4.5m $5.6m $4.5m $5.6m 2 10. Veteran 2: I, The Executioner (various) $3.7m $44.3m $3.5m $44.2m 4
Credit: Comscore.
- 9/30/2024
- ScreenDaily
Korean-made crime-comedy-thriller “I, The Executioner,” a sequel to 2015 hit ‘Veteran,” continued its spree at the top of the South Korea weekend box office. It earned $3.03 million in its third full weekend session, ahead of top-ranked new release “Transformers One.”
“I, The Executioner” commanded a 53% market share, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). The latest weekend increment gives the film a $47 million running total since releasing on Sept. 13. That makes it the fourth highest grossing film of the year in the country, behind “Exhuma,” “The Roundup: Punishment” and “Inside Out 2,” which is still some distance ahead on $64 million.
“Transformers One” opened with $917,000 between Friday and Sunday and achieved a 16% market share, according to Kobis. Over its full five-day opening run, it muscled up $1.43 million.
The re-released “Begin Again” came third. It earned $269,000 over the weekend for a cumulative including its 2014 first run of over $21 million.
“I, The Executioner” commanded a 53% market share, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). The latest weekend increment gives the film a $47 million running total since releasing on Sept. 13. That makes it the fourth highest grossing film of the year in the country, behind “Exhuma,” “The Roundup: Punishment” and “Inside Out 2,” which is still some distance ahead on $64 million.
“Transformers One” opened with $917,000 between Friday and Sunday and achieved a 16% market share, according to Kobis. Over its full five-day opening run, it muscled up $1.43 million.
The re-released “Begin Again” came third. It earned $269,000 over the weekend for a cumulative including its 2014 first run of over $21 million.
- 9/30/2024
- by Patrick Frater
- Variety Film + TV
This year, Toronto International Film Festival was back. TIFF typically kicks off the North American fall festival season alongside Telluride, but it has had a rocky past couple of years. The pandemic in 2020 put a temporary pause on in-person festivities, and 2021-2022 featured a tentative rollout of hybrid festivities. Though 2023 committed to total in-person attendance, the SAG-AFTRA strikes of 2023 limited the amount of American celebrity presence on the red carpet; festival buzz too had been similarly muted. This year’s edition, however, witnessed the famed festival in full swing. With 278 films in this year’s programming, the 2024 edition of TIFF was jam-packed with Berlin/Cannes favorites, Awards season’s to-be-darlings, and of course, a good chunk of independent cinema.
Among the Asian cinema contenders, Korean and Taiwanese cinema have held an especially strong presence this year. There were nine Korean and Korean-adjacent entries – almost 100% more than in 2022, when there were...
Among the Asian cinema contenders, Korean and Taiwanese cinema have held an especially strong presence this year. There were nine Korean and Korean-adjacent entries – almost 100% more than in 2022, when there were...
- 9/23/2024
- by Panos Kotzathanasis
- AsianMoviePulse
Ryoo Seung-wan, also known as “Action Kid,” is one of the major players in the Korean film industry today. He’s most famous for directing the 5th all-time highest grossing film in South Korean cinema history, action-comedy detective film “Veteran” (2015). In more recent years, he wrote and directed the South Korean entry for Best International Film at the 94th Academy Awards, “Escape from Mogadishu” (2021) – a Korean peninsular analog to “Argo” set in Mogadishu, Somalia.
This year, Ryoo Seung-wan showed up to Toronto International Film Festival with “I, the Executioner,” the long-awaited sequel to “Veteran.” Hwang Jung-min returns as Seo Do-cheol: still a dedicated detective, but this time also an unenthused husband and even more lackluster father. Though his son is mercilessly bullied at school, Seo Do-cheol is blasé about the situation. He has other priorities at hand – such as a serial killer on the loose, a viral Internet sleuth undermining his authority,...
This year, Ryoo Seung-wan showed up to Toronto International Film Festival with “I, the Executioner,” the long-awaited sequel to “Veteran.” Hwang Jung-min returns as Seo Do-cheol: still a dedicated detective, but this time also an unenthused husband and even more lackluster father. Though his son is mercilessly bullied at school, Seo Do-cheol is blasé about the situation. He has other priorities at hand – such as a serial killer on the loose, a viral Internet sleuth undermining his authority,...
- 9/23/2024
- by Grace Han
- AsianMoviePulse
Local blockbuster “I The Executioner” dominated the South Korea box office for a second weekend. Its cumulative total reached $40 million after ten days on release.
The film, a sequel to 2015 crime comedy drama “The Veteran,” “I, The Executioner” released a week earlier with little serious opposition from new release titles. Those conditions held true in the film’s second weekend, and the film’s first non-holiday frame.
Between the latest Friday and Sunday, the film earned $6.63 million, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). Its 10-day cumulative is $40.7 million, earned from 5.61 million spectators.
The weekend figures represent a steep 56% week-on-week decline. But the comparison is atypical as the previous weekend represented the first few days of a five-day holiday. The film’s market share remained dominant, at over 71%.
Chuseok was a mixed bag for the cinema industry. Kofic reports that spectator numbers for the five-day period,...
The film, a sequel to 2015 crime comedy drama “The Veteran,” “I, The Executioner” released a week earlier with little serious opposition from new release titles. Those conditions held true in the film’s second weekend, and the film’s first non-holiday frame.
Between the latest Friday and Sunday, the film earned $6.63 million, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). Its 10-day cumulative is $40.7 million, earned from 5.61 million spectators.
The weekend figures represent a steep 56% week-on-week decline. But the comparison is atypical as the previous weekend represented the first few days of a five-day holiday. The film’s market share remained dominant, at over 71%.
Chuseok was a mixed bag for the cinema industry. Kofic reports that spectator numbers for the five-day period,...
- 9/23/2024
- by Patrick Frater
- Variety Film + TV
Korean crime comedy action film “I The Executioner” has amassed more than $30 million of gross revenues on its sixth day of release, making it one of the fastest movies in local history to reach that mark.
Kobis, the cinema data service operated by the Korean Film Council, reported that the film had reached 3.71 million admissions and a gross haul of $27.2 million by the evening of Tuesday, its fifth full day in cinemas.
On Wednesday morning, the film’s distributor Cj Enm said that the film’s ticket sales total had surpassed 4 million by 9am local time. That would give an estimated box office total of $30 million, that will be confirmed by independent data later in the day.
Cj Enm has not disclosed a production budget for the title, but it said that with this level of business the film has now broken even. It is not clear whether that calculation...
Kobis, the cinema data service operated by the Korean Film Council, reported that the film had reached 3.71 million admissions and a gross haul of $27.2 million by the evening of Tuesday, its fifth full day in cinemas.
On Wednesday morning, the film’s distributor Cj Enm said that the film’s ticket sales total had surpassed 4 million by 9am local time. That would give an estimated box office total of $30 million, that will be confirmed by independent data later in the day.
Cj Enm has not disclosed a production budget for the title, but it said that with this level of business the film has now broken even. It is not clear whether that calculation...
- 9/18/2024
- by Patrick Frater
- Variety Film + TV
“I, the Executioner,” Ryoo Seung-wan’s sequel to his 2015 action-comedy “Veteran,” scales back on its predecessor’s laughs in order to focus more closely on — as well as to examine — the violence of its police protagonists. Although undoubtedly entertaining, Ryoo’s follow-up is also highly introspective, weaving a serial killer mystery that makes for a surprising mirror to the series’ lead.
Roguish detective Seo Do-cheol (Hwang Jung-min) returns in a dynamic blast of an opening salvo, as the camera weaves in and out of (and above) an illicit casino, as a police sting operation unfolds. Amusing action soon ensues, reminiscent of the first film’s zesty, high-impact sequences, and with its central conceit in tow: Seo and his returning, idiosyncratic team are either hyper-competent or bumbling fools, depending on what the script demands. Sometimes, they’re both these things at once, as the film’s prologue provides a dose of the familiar.
Roguish detective Seo Do-cheol (Hwang Jung-min) returns in a dynamic blast of an opening salvo, as the camera weaves in and out of (and above) an illicit casino, as a police sting operation unfolds. Amusing action soon ensues, reminiscent of the first film’s zesty, high-impact sequences, and with its central conceit in tow: Seo and his returning, idiosyncratic team are either hyper-competent or bumbling fools, depending on what the script demands. Sometimes, they’re both these things at once, as the film’s prologue provides a dose of the familiar.
- 9/17/2024
- by Siddhant Adlakha
- Variety Film + TV
Several new and returning films found success at the global box office this past weekend. Tim Burton’s comedy sequel Beetlejuice Beetlejuice maintained its lead in its second week of release. The film earned an additional $80 million worldwide between Friday and Sunday. Its total global ticket sales now stand at $264 million after 10 days in theaters.
Beetlejuice Beetlejuice saw attendance drop 53% domestically but held strong internationally with a 44% decrease. The movie continues attracting large audiences worldwide. Britain remains its top market outside North America with $19 million in sales so far. Mexico and Spain have also contributed to the film’s robust global numbers. It debuted atop box office charts in both France and Germany this weekend.
The psychological horror remake Speak No Evil also premiered to solid ticket sales. Directed by James Watkins, the film stars James McAvoy and Mackenzie Davis. It generated $11.5 million in the United States and $9.3 million in...
Beetlejuice Beetlejuice saw attendance drop 53% domestically but held strong internationally with a 44% decrease. The movie continues attracting large audiences worldwide. Britain remains its top market outside North America with $19 million in sales so far. Mexico and Spain have also contributed to the film’s robust global numbers. It debuted atop box office charts in both France and Germany this weekend.
The psychological horror remake Speak No Evil also premiered to solid ticket sales. Directed by James Watkins, the film stars James McAvoy and Mackenzie Davis. It generated $11.5 million in the United States and $9.3 million in...
- 9/16/2024
- by Naser Nahandian
- Gazettely
Worldwide box office September 13-15 RankFilm (distributor)3-day (world)Cume (world)3-day (int’l) Cume (int’l)Territories 1. Beetlejuice Beetlejuice (Warner Bros) $80.3m $264.3m $28.7m $76.3m 77 2. Speak No Evil (Universal) $20.8m $20.8m $9.3m $9.3m 74 3. Veteran 2: I, The Executioner (Cje&m) $15m $15m $15m $15m 1 4. Deadpool & Wolverine (Disney) $10.9m $1.3bn $5.7m $683.5m 53 5. Stand By Me (various) $9.8m $9.9m $9.8m $9.9m 1 6. It Ends With Us (Sony) $9.3m $325.4m $7.3m $180.6m 62 7. Alien: Romulus (Disney) $8.7m $330.6m $6.3m $229.4m 85 8. Despicable Me 4 (Universal) $6.7m $940m $5.6m $580.6m 85 9. The Greatest Of All Time (various) $5.9m $46.7m $5.5m $42.6m 17 10. Am I Racist? (Sdg) $4.7m $4.7m - - 1
Credit: Comscore.
Credit: Comscore.
- 9/16/2024
- ScreenDaily
Crime action film ‘I The Executioner” topped the South Korea cinema box office weekend with an utterly dominant $15 million haul. The session represented the first half of a long holiday in Korea.
Data from Kobis, the tracking service operated by the Korean Film Council (Kofic) showed that the film enjoyed a market share of 86% between Friday and Sunday. It was watched by 2.09 million spectators.
That represented the second biggest opening weekend score by any film this year in Korea, behind the $20.8 million attained by “The Roundup: Punishment” in late April. Nationwide, the latest weekend was the third-highest Friday-Sunday session of 2024, at $17.5 million, behind the first two weekends of release of “Punishment.”
The film known locally as “Veteran 2,” is a sequel to “Veteran,” which released in August 2015 and shares the same writer-director Ryoo Seung-wan and lead actor Hwang Jung-min as the new picture. “Veteran” earned $78.4 million from 13.4 million spectators, making...
Data from Kobis, the tracking service operated by the Korean Film Council (Kofic) showed that the film enjoyed a market share of 86% between Friday and Sunday. It was watched by 2.09 million spectators.
That represented the second biggest opening weekend score by any film this year in Korea, behind the $20.8 million attained by “The Roundup: Punishment” in late April. Nationwide, the latest weekend was the third-highest Friday-Sunday session of 2024, at $17.5 million, behind the first two weekends of release of “Punishment.”
The film known locally as “Veteran 2,” is a sequel to “Veteran,” which released in August 2015 and shares the same writer-director Ryoo Seung-wan and lead actor Hwang Jung-min as the new picture. “Veteran” earned $78.4 million from 13.4 million spectators, making...
- 9/16/2024
- by Patrick Frater
- Variety Film + TV
Cinema box office in South Korea amounted to a dismal $5.45 million over the weekend, propelling “Alien: Romulus” back to top spot, despite the film’s steep week-on-week decline. Among new releases there was joy for a Korean-produced panda documentary and disappointment for “Beetlejuice Beetlejuice.”
“Alien: Romulus” earned $905,000 between Friday and Sunday, according to data from Kobis, the tracking service operated by the Korean Film Council. That represented a 45% week-on-week decline and market share of less than 17%, but it pushed the horror franchise title to a $14.0 million cumulative since releasing on Aug. 14.
Early September has historically been a weak spot on the calendar for Korean cinema business as the summer season fades out and the biggest local titles delay their releases until the Chuseok (or Korean thanksgiving) holiday season towards the end of the month. The latest Friday-Sunday aggregate followed that seasonal pattern and represented the third weakest weekend haul of the year.
“Alien: Romulus” earned $905,000 between Friday and Sunday, according to data from Kobis, the tracking service operated by the Korean Film Council. That represented a 45% week-on-week decline and market share of less than 17%, but it pushed the horror franchise title to a $14.0 million cumulative since releasing on Aug. 14.
Early September has historically been a weak spot on the calendar for Korean cinema business as the summer season fades out and the biggest local titles delay their releases until the Chuseok (or Korean thanksgiving) holiday season towards the end of the month. The latest Friday-Sunday aggregate followed that seasonal pattern and represented the third weakest weekend haul of the year.
- 9/9/2024
- by Patrick Frater
- Variety Film + TV
Saudi Arabian film industry pioneer Faisal Baltyuor is opening the first arthouse cinema in Riyadh in what amounts to a milestone in the kingdom’s moviegoing trajectory ever since Saudi lifted its 35-year ban on cinema in late 2017.
The plush state-of-the-art 80-seat venue, called Cinehouse, is set to open in the Saudi capital later this month. The symbolic opening film will be a 1975 documentary titled “Development of Riyadh City” by Saudi helmer Abdullah Al-Muheisen. Before the religion-related Saudi ban on cinema went into effect, Al-Muheisen had been instrumental in laying the groundwork for the embryonic Saudi film industry. His vast body of work delved into social and humanitarian issues.
A curated program comprising local and international films at Cinehouse will follow after the “Development of Riyadh City” doc.
“For our opening film we actually went back to our Saudi film industry legacy,” said Baltyuor, a former CEO of the Saudi...
The plush state-of-the-art 80-seat venue, called Cinehouse, is set to open in the Saudi capital later this month. The symbolic opening film will be a 1975 documentary titled “Development of Riyadh City” by Saudi helmer Abdullah Al-Muheisen. Before the religion-related Saudi ban on cinema went into effect, Al-Muheisen had been instrumental in laying the groundwork for the embryonic Saudi film industry. His vast body of work delved into social and humanitarian issues.
A curated program comprising local and international films at Cinehouse will follow after the “Development of Riyadh City” doc.
“For our opening film we actually went back to our Saudi film industry legacy,” said Baltyuor, a former CEO of the Saudi...
- 9/7/2024
- by Nick Vivarelli
- Variety Film + TV
"If the situation turns dangerous, are we allowed to response with force?" Capelight Pictures has debuted a new official US trailer for the Korean action thriller titled I, The Executioner, which will be screening at the 2024 Toronto Film Festival soon this month. It first premiered in Cannes in the Midnight section there and should get more good reviews. This is a sequel to director Ryoo Seung-wan's 2015 film titled Veteran, though with a new title for this next thriller. I, The Executioner follows detective Seo Do-cheol, head of the Violent Crime Investigation Division, as he faces a major crisis. TIFF hypes this up: "the film's critique of vigilantism and the abuse of social media and its reflection on societal disillusionment with the legal system are timely - rooted in a collective global consciousness. Spectacular action sets and carefully orchestrated editing — enhanced by the chilling sound design — offer a high level...
- 9/4/2024
- by Alex Billington
- firstshowing.net
“Alien: Romulus” claimed a second weekend victory at the South Korean theatrical box office in another quiet session that may signal the end of the summer season.
The horror-action franchise film collected $2.70 million between Friday and Sunday, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). After 12 days on release, it has a cumulative of $9.81 million.
The film’s weekend performance represented only a modest 24% week-on-week decline compared with its opening frame. And the film’s share of the weekend market remained steady at 28%.
That meant that the overall market trended downwards too – by 23% — delivering the first weekend with aggregate box office below $10 million for ten weeks. A lack of significant titles arriving in cinemas may further be signalling the end of the summer season – a vibrant season in previous year, often dominated by horror titles. Big local titles, such as “Veteran” sequel “I, The Executioner...
The horror-action franchise film collected $2.70 million between Friday and Sunday, according to data from Kobis, the tracking service operated by the Korean Film Council (Kofic). After 12 days on release, it has a cumulative of $9.81 million.
The film’s weekend performance represented only a modest 24% week-on-week decline compared with its opening frame. And the film’s share of the weekend market remained steady at 28%.
That meant that the overall market trended downwards too – by 23% — delivering the first weekend with aggregate box office below $10 million for ten weeks. A lack of significant titles arriving in cinemas may further be signalling the end of the summer season – a vibrant season in previous year, often dominated by horror titles. Big local titles, such as “Veteran” sequel “I, The Executioner...
- 8/26/2024
- by Patrick Frater
- Variety Film + TV
Have you checked out Love Next Door on Netflix yet? It's easily the best K-Drama to be released in August, so we strongly recommend adding it to your watchlist. Not only does it have an interesting premise that'll grab your attention right away, it also stars two well-known South Korean actors in the leading roles.
It's a Korean romantic comedy series coming from Hometown Cha-Cha-Cha creators Yoo Je-won and Shin Ha-eun. You might also recognize Je-won from his previous directorial work on the hit Netflix K-Drama Crash Course in Romance, while Ha-eun can be recognized for previously writing for the Korean shows Argon and The Crowned Clown.
It tells the love story of a project manager named Bae Seok-ryu, who decides to return to her hometown, hoping for a fresh start in life, and an old childhood friend and young architect, Choi Seung-hyo, with whom she shares a complicated past.
It's a Korean romantic comedy series coming from Hometown Cha-Cha-Cha creators Yoo Je-won and Shin Ha-eun. You might also recognize Je-won from his previous directorial work on the hit Netflix K-Drama Crash Course in Romance, while Ha-eun can be recognized for previously writing for the Korean shows Argon and The Crowned Clown.
It tells the love story of a project manager named Bae Seok-ryu, who decides to return to her hometown, hoping for a fresh start in life, and an old childhood friend and young architect, Choi Seung-hyo, with whom she shares a complicated past.
- 8/19/2024
- by Crystal George
- Netflix Life
Ryoo Seung-wan, the South Korean film director who was last month in Cannes with “I, The Executioner,” says that his next picture will be an espionage action movie.
It is pitched as “depicting North and South Korean secret agents clashing while [also] uncovering crimes occurring at the border with Vladivostok, Russia.”
Currently titled, “Humint,” a reference to espionage industry’s shorthand for collection of intelligence through humans, rather than signals or data, the new film is to be produced by his Filmmaker R&k company and distributed by New.
Ryoo also says that throughout his career he has sought to change genres and that “Humint” will represent a “more mature espionage action” picture than some of his previous efforts.
Ryoo will release “I, The Executioner” at an unspecified date in the second half of this year. He has already settled the casting of “Humint” and has scheduled full-scale production of the...
It is pitched as “depicting North and South Korean secret agents clashing while [also] uncovering crimes occurring at the border with Vladivostok, Russia.”
Currently titled, “Humint,” a reference to espionage industry’s shorthand for collection of intelligence through humans, rather than signals or data, the new film is to be produced by his Filmmaker R&k company and distributed by New.
Ryoo also says that throughout his career he has sought to change genres and that “Humint” will represent a “more mature espionage action” picture than some of his previous efforts.
Ryoo will release “I, The Executioner” at an unspecified date in the second half of this year. He has already settled the casting of “Humint” and has scheduled full-scale production of the...
- 6/13/2024
- by Patrick Frater
- Variety Film + TV
from our special envoy Jean-Marc Thérouanne at the Cannes Film Festival.
From May 14 to 25, 2024, Far East Asia is represented in competition by the film “Caught by the Tides” by the master of Chinese cinema of the sixth generation, Jia Zhang-ke. This film, in small impressionist touches, tells the evolution of China in this first quarter of the 21st century. Jia Zhang-ke tries to describe it through the songs marking the collective memory. He multiplies the winks to his work of fifteen films, time markers flowing inexorably.
Jia Zhang-ke and Zhao Tao in Grand Théâtre Lumiere Gala presentation of Caught by the Tides. (Photo credit Fica)
The Indian subcontinent is back in competition, after a long 30-year eclipse, with the film All We Imagine As Light by director Payal Kapadia, recognized in Cannes by the Golden Eye Award for his documentary film Une nuit sans savoir selected at the Directors' Fortnight...
From May 14 to 25, 2024, Far East Asia is represented in competition by the film “Caught by the Tides” by the master of Chinese cinema of the sixth generation, Jia Zhang-ke. This film, in small impressionist touches, tells the evolution of China in this first quarter of the 21st century. Jia Zhang-ke tries to describe it through the songs marking the collective memory. He multiplies the winks to his work of fifteen films, time markers flowing inexorably.
Jia Zhang-ke and Zhao Tao in Grand Théâtre Lumiere Gala presentation of Caught by the Tides. (Photo credit Fica)
The Indian subcontinent is back in competition, after a long 30-year eclipse, with the film All We Imagine As Light by director Payal Kapadia, recognized in Cannes by the Golden Eye Award for his documentary film Une nuit sans savoir selected at the Directors' Fortnight...
- 6/1/2024
- by Panos Kotzathanasis
- AsianMoviePulse
Ryoo Seung-wan has been a pillar of the South Korean film industry for over 20 years, respected there for his keen social observation and thrilling action. But Europe’s great film festivals have feted him conspicuously less than some of his more internationally well-known peers. The Cannes Film Festival recently took a step toward correcting that record in 2024.
Ryoo, 50, made his first and only trip to Cannes back in 2005 with the gritty boxing drama Crying Fist, co-starring his brother, Ryoo Seung-bum, today a major star, and Korean cinema icon Choi Min-sik, then riding high thanks to his iconic role in Park Chan-wook’s Old Boy (2003).
“Crying Fist was very well received, but since we were in the Directors’ Fortnight section of the festival, it wasn’t screened in Cannes’ Grand Lumière Theater,” Ryoo recalls. “Back then, I was much younger and everything just felt fresh, fun and exciting. But I remember...
Ryoo, 50, made his first and only trip to Cannes back in 2005 with the gritty boxing drama Crying Fist, co-starring his brother, Ryoo Seung-bum, today a major star, and Korean cinema icon Choi Min-sik, then riding high thanks to his iconic role in Park Chan-wook’s Old Boy (2003).
“Crying Fist was very well received, but since we were in the Directors’ Fortnight section of the festival, it wasn’t screened in Cannes’ Grand Lumière Theater,” Ryoo recalls. “Back then, I was much younger and everything just felt fresh, fun and exciting. But I remember...
- 5/27/2024
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
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