Is it possible for Korean cinema to take a leap forward? [한국영화의 위상과 위기②]

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Entered 2024.10.24 08:10 Modified 2024.10.24 08:10 Reporter Ryu Ji-yoon ([email protected])

“I don’t see any hope” VS “The power of Korean movies will not be easily lost”

The Korean film industry is suffering from a double whammy of investment and box office success, with large distributors drastically reducing their investments in new films this year. CJ ENM’s investment in only one film, director Park Chan-wook’s ‘I Can’t Help It’, is a clear example of the depressed investment environment.

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After the pandemic, the Korean film industry has lost its direction and is struggling amid the gap between its achievements on the international stage and the reality in the domestic market. However, the pandemic alone cannot explain this situation.

Although audiences’ consumption patterns are changing, the Korean film industry still relies on past success formulas, which is also an obstacle to the expansion of the Korean film industry. Even though blockbusters and masterpiece-centered strategies are no longer effective, large distributors are still complacent with past box office performance and continue to make excessive investments, releasing ‘Alien + Humans’ Parts 1 and 2′, ‘Emergency Declaration’, and ‘More’. I experienced the bitter taste of successive crushing defeats of masterpieces such as ‘Moon’. As the box-office formula did not work, instead of making various attempts, the production itself was conservatively locked down and the challenge itself was avoided.

During the pandemic, going to the theater is no longer an attractive option as OTT platforms become substitutes.

Mr. A, an official in the film industry, said, “Nowadays, watching movies in theaters is not hip and is considered old-fashioned. Cultural activities such as musicals, concerts, and professional baseball, which are much more expensive than movies, are successful, but movies are not actually popular among audiences. “People are saying that audiences will come back when the pandemic ends, but these days, it seems like the medium of Korean movies is going to die. We need to stop believing in the achievements of Korean movies and pouring them out in droves.” “The result is coming back like a boomerang,” he pointed out.

However, cautious optimism is also raised. While acknowledging the crisis, the position is that Korean films should be viewed positively in that they still have the potential for content.

Changwon Democratic Film Festival planner and CEO of Cineatrizome Heo Hyo-seon said, “For the time being, the power of content that Korean history has, it is unlikely to disappear immediately. Although it has not fully recovered yet, ‘Spring in Seoul’ and ‘Breakfast’ have been released since last year. ‘, ‘Veteran 2’, etc. are continuing to be box office hits, and the independent film industry is also producing works by good new directors such as ‘About Daughter’, ‘Eldest Son’, and ‘To Her’,” he said. “This time, writer Han Kang won the Nobel Peace Prize. “I felt that the power of Korean art has not yet been lost and its influence and influence remain,” he said, expressing a different opinion, saying, “I acknowledge that there is a gap between the overseas and domestic markets, but I don’t think the history and power of Korean content will easily disappear.” .

However, some point out that it is difficult to overcome the crisis with these capabilities alone.

Critic Jeon Chan-il criticized the box office-centered evaluation method and said, “In our country, everything is evaluated only in terms of money. The problem is the tendency to ignore the history and cultural value of movies and focus only on profits.” He emphasized, “It is true that the market has shrunk, but rather than just complaining, we need to think about ways to utilize the potential of movies by connecting them to the industry. We need to give impetus to the industry through new attempts.”

In order for the Korean film industry to truly recover, voices are growing that it must establish a long-term vision rather than being obsessed with short-term results.

Mr. B, a film official, also said, “Contrary to the expectation that the domestic film market will become active due to the global reputation and meaningful performance of Korean films, the number of Korean films being released is decreasing and the theater industry is dying. If you go to the theater these days, it is difficult to find Korean films. Idol concert films are sold out, and despite the fancy titles of winning awards at film festivals, films destined for IPTV are still coming out one after another, relying on Park Chan-wook and Bong Joon-ho to release new works. The situation is also bizarre, and the future of Korean films looks bleak as more and more prominent new directors are directing remakes.” all.

Ultimately, for Korean films to take off again, investment in various genres and content is essential, and an environment where independent films and new directors can grow must be created. Sustainability cannot be guaranteed with the current method. The common opinion of experts is that “the film industry needs an attitude that never stops changing and taking on challenges.”

Mr. B said, “Korean films are still recognized on the global stage, but if internal problems are not resolved, their reputation will not last long. K-movies’ resurgence will only take place through new attempts and challenges beyond past success. “It will be possible,” he said.

Is it possible for Korean cinema to take a leap forward? [한국영화의 위상과 위기②]

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