{"id":34422,"date":"2026-05-28T02:49:10","date_gmt":"2026-05-28T06:49:10","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=34422"},"modified":"2026-05-28T02:49:10","modified_gmt":"2026-05-28T06:49:10","slug":"park-chan-wook-is-seen-as-the-antidote-to-the-hallyu-wood-phenomenon","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=34422","title":{"rendered":"Park Chan-wook Is Seen As The Antidote To The Hallyu-wood Phenomenon"},"content":{"rendered":"

After presiding <\/span>the<\/span> 2026 Cannes Film Festival Jury, Park Chan-wook has been part of the 27<\/span>th<\/sup><\/span> edition of La Milanesiana<\/i> conceived and directed by Elisabetta Sgarbi. Two days homaged the award-winning South Korean director \u2014 with a Masterclass moderated by Marco M\u00fcller and a screening marathon of his The Vengeance Trilogy <\/i><\/b>(Sympathy for Mr. Vengeance<\/i><\/b>,<\/span> Oldboy<\/i><\/b><\/span>, <\/span>Lady Vengeance<\/i><\/b>) \u2014 to retrace his artistic universe.<\/span><\/p>\n

The Masterclass that took place at the Volvo Studio in Milan was characterised by the screening of the filmmaker\u2019s medium-length film Judgement<\/i><\/b> \u2014 that had a huge success at the Festival of Clermont-Ferrand \u2014 and an Award to praise his visionary and groundbreaking work. In his acceptance speech Park Chan-wook explained that receiving this recognition in Milan was exceptionally meaningful, because Italian filmmakers such as Michelangelo Antonioni and Luchino Visconti greatly inspired him as a cineaste.<\/span><\/p>\n

\"\"<\/p>\n

The evening uncovered the filmic approach of Park Chan-wook, that echoed this year\u2019s theme of La Milanesiana <\/i>\u2018Desire and Law.\u2019 These two opposing, but deeply intertwined forces, were the fil rouge of the conversation moderated exquisitely by film critic Marco M\u00fcller, whose knowledge of cinema and Asian culture is attested by his fluency in Chinese, his professorship at Shanghai University and his work at the helm of film festivals such as Venice, Pesaro, Locarno, Rome, Rotterdam, Pingyao and Hainan Island.<\/span><\/p>\n

In fact, Marco M\u00fcller began the conversation by contextualising the historical evolution of Korea, that today has restructured its identity through the K-culture phenomenon. It all began on November 19<\/span>th <\/sup><\/span>1999, when the Beijing Youth Daily (B\u011bij\u012bng q\u012bngni\u00e1n b\u00e0o) for the first time used the term \u2018Korean Wave,\u2019 i.e. hallyu<\/i>. This means the South Korean wave crossed all of Asia and beyond, with cultural products such as K-pop, K-drama, K-beauty, and K-food like Bingsu ice-cream. South Korea became the new trend-setter in popular culture, often using YouTube as a platform to allow the content to be accessible worldwide, as we witnessed with PSY\u2019s song Gangnam Style<\/i><\/a> in 2012. The phenomenon of hallyu kept growing over the course of the 21<\/span>st<\/sup><\/span> century with K-series such as Squid Game<\/i><\/b>. This K-pop culture has based the foundations for the economic boost of South Korea.<\/span><\/p>\n<\/ins>\n

Within this dimension, Park Chan-wook represents an antidote to the Hallyu-wood phenomenon. The cineaste recalled Korea\u2019s dynastic past and how the Japanese rule affected the Korean population, especially because this period coincided with the modernisation of his culture. After World War II the country was liberated, but colonialism continued with the USA and the Soviet Union, which marked the division between North and South Korea. Therefore the Korean identity was confused and shifted from its origins, transforming itself into a hasty, passionate, earnest and at times harsh culture. As a matter of fact, Marco M\u00fcller underlined how the South Korean filmmaker grasped the phenomenon of \u2018the adventurous spirit of fatherless children\u2019 that shaped the nation\u2019s cinematic language. <\/span><\/p>\n

During the early Nineties, only American mainstream movies and Korean films were available, but none of the motion pictures from the rest of the world. Classic films were not available, and South Koreans eventually discovered them through VHS tapes. Park Chan-wook recalls having his cinematic epiphany when he saw for the first time Alfred Hitchcock\u2019s Vertigo<\/b> on a small television set. He also explained that it wasn\u2019t until the Eighties that in his country films arrived in colour. It was a culture shock for him to discover that certain pictures he had seen in black and white were actually in colour, like Apache<\/b> directed by Robert Aldrich. There was also a specific tv channel for American soldiers in Korea, showing films that weren\u2019t available elsewhere. But the problem was there were no subtitles and he did not understand English too well. Hence, this language barrier was an excellent exercise to imagine and recreate stories.<\/span><\/p>\n

\"\"<\/p>\n

Park Chan-wook\u2019s early works were so innovative that the producers of the Chungmu-ro neighbourhood (located in the Jung District of Seoul which was known as the \u2018Hollywood of Korea,\u2019 before the film studios relocated to the Gangnam District), considered Park Chan-wook a dangerous cinephile. In these regards the filmmaker shared an amusing anecdote concerning how he convinced these reluctant producers to invest in a high budget film like Joint Security Area <\/i><\/b>\u2014 which eventually conquered the box office in Korea. The story goes that the investors tried to discourage Park Chan-wook from pursuing their support by asking him to make a storyboard of the entire film, saying that this was what was usually requested in Hollywood. He believed them and drew from the first to the last scene of the film. Only years later later, when the filmmaker shot Stoker<\/b> in Hollywood, did he discover the scam. But the South-Korean director cherishes the experience of storyboarding, because it helped him in the making of the film, and it set a method that was followed by other film directors.<\/span><\/p>\n<\/ins>\n

His filmography coalesces the macabre, irony, compelling aesthetics and always delivers a philosophical reflection on the human psyche and its place in society. This trait might be a result of Park Chan-wook studying philosophy at Sogang University. He joked on the fact he never completed his studies because he loved making movies more. His artistry undoubtably lies not only in how he translates his themes in visual representations, but also in the fact he has ventured in different film genres. In fact, in 2002 with other young directors he created Egg Films<\/i>, before he founded his own indie company Moho Film<\/i>. However, around that same time, the South Korean filmmaker made an agreement with the mainstream distribution company CJ for his film I\u2019m A Cyborg, But That\u2019s OK<\/i><\/b>. Therefore he managed to make the indie and mainstream approaches coexist in his craft, as well as producing the works of burgeoning filmmakers, like Bong Joon-ho\u2019s Snowpiercer<\/i><\/b> <\/i>and Lee Kyoung-mi\u2019s <\/i>Crush and Blush<\/i><\/b>.<\/span><\/p>\n

\"\" \"\"<\/p>\n

Park Chan-wook also collaborates with his brother Park Chan-kyong on visual art projects, through the duo they\u2019ve created called PARKing CHANce. These works can be made rapidly with small budgets and shown on the internet like Night Fishing<\/i><\/b><\/a> (that won the Golden Bear for Best Short Film, bestowed by Nan Goldin at the 61<\/span>st<\/sup><\/span> Berlin International Film Festival), or in museum venues like the short Decades Apart<\/i><\/b>. The latter was part of Cin\u00e9Fondation Cartier\u2019s exhibition Il nostro tempo<\/i> (Our Time<\/i>) in the Triennale Museum in 2025 [for which I had the pleasure of moderating the press conference]. This specific 3D video installation from 2017 is set in the Panmunjeom village, inside the DMZ area where the armistice between the two Koreas was signed in 1953. The famous demilitarized zone dividing North from South Korea was actually recreated in Namyangju, northeast of Seoul. The way PARKing CHANce captured, 17 years later in Decades Apart<\/i><\/b>, the same set that had been used in the year 2000 for Joint Security Area<\/i><\/b>, is the perfect metaphor of the country\u2019s historical decadence.<\/span><\/p>\n

The psychological realism of Park Chan-wook\u2019s films, characterised by his radical visual rendering, aligns with Marco M\u00fcller\u2019s observation: his style echoes Fran\u00e7ois Truffaut\u2019s praise of \u2018les grands films malades,\u2019 that is to say those films that are flawed and broken but in a fascinating way. Such films can expose an artist more directly than those that are executed perfectly. This can also be attested in the way many of Park Chan-wook\u2019s movies after their official release get an extended director\u2019s cut.<\/span><\/p>\n<\/ins>\n

Moreover, Park Chan-wook was pioneering in his craft also by being one of the first filmmakers in South Korea to use all the technological tools available, especially dedicating himself to the digital intermediate. His experience as President of the Jury in Cannes made him realise how certain motion pictures can benefit from this modern touch, like Ken Russell<\/span>\u2019s 1972 The Devils<\/i><\/b>, which was in the Cannes Classics<\/i> section with a 4K restoration which he thought made the film more beautiful than the original version. <\/span>Despite his predilection for the opportunities offered by digitalisation, Park Chan-wook shared his longing to eventually shoot a film on reel. <\/span><\/p>\n

Not only do we look forward to a new work of his made<\/span> using film roll, but we also await his first movie in 3D, since he made an attempt with The Handmaiden<\/i><\/b> in 2016 that did not follow through. Meanwhile, those who want to admire his sensibility with still images,<\/span> <\/i>Park Chan-wook will have<\/span> his first ever photographic exhibition in France, which will open in July at the exhibition space Lee Ufan Arles<\/span><\/a>.<\/span><\/p>\n

\"\"<\/p>\n

From the BBC series <\/i>The Little Drummer Girl <\/i><\/b>to the winner of the Venice Film Festival\u2019s Golden Lion in 2025 <\/i>No Other Choice<\/i><\/b>, <\/i>Park Chan-wook\u2019s body of work creates a tableaux of images that move on the big screen as much as they move your soul to the core. These films shake perception and haunt your grasp on reality in multiple ways. They never grow old and always find an alignment with current times, as NEPAL (Never Ending Peace And Love) <\/i><\/b>\u2014 with the loss of identification through the process of migration \u2014 and Day Trip<\/i><\/b><\/a> that reprises the figure of the pansori <\/i>(a traditional Korean musical storyteller), to describe a spiritual awakening.<\/span><\/p>\n

Personally, the phenomenology of Park Chan-wook\u2019s films has evoked in me the ideas of contemporary South-Korean born philosopher Hwa Yol Jung, when its comes to transversality, embodiment and intercultural dialogue. Cinema represents one of the relational ways in which we understand the world and cross boundaries. Park Chan-wook brings to the silver screen the carnal hermeneutics we experience as human beings wandering on this planet.<\/span><\/p>\n

Check out more of Chiara\u2019s articles<\/a><\/span>.<\/span><\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

After presiding the 2026 Cannes Film Festival Jury, Park Chan-wook has been part of the 27th edition of La Milanesiana conceived and directed by Elisabetta Sgarbi. Two days homaged the award-winning South Korean director \u2014 with a Masterclass moderated by Marco M\u00fcller and a screening marathon of his The Vengeance Trilogy (Sympathy for Mr. Vengeance,…<\/p>\n","protected":false},"author":6,"featured_media":34423,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32,20471],"tags":[30727,30735,3485,30748,30747,6526,30731,698,2308,30750,30741,30751,30746,30738,30744,26282,30737,30726,862,30733,30728,26261,30734,30724,30729,4376,30730,12928,30745,30749,30725,5783,29362,158,30722,6893,16202,30743,30740,28024,9127,30742,30739,8444,26281,30732,30736,6558,3996,4557,9130,27197,18654,11095,26262,4800,30723],"acf":[],"yoast_head":"\nPark Chan-wook Is Seen As The Antidote To The Hallyu-wood Phenomenon | Cinema Daily US<\/title>\n<meta name=\"description\" content=\"The Masterclass, moderated by Marco M\u00fcller, took place at Volvo Studio in Milan 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With a degree in Political Sciences, a Master\u2019s in Screenwriting & Film Production, and studies at the Lee Strasberg Theatre & Film Institute, Chiara has been working in the press since 2003. Italian by blood, British by upbringing, fond of Japanese culture since the age of 7, once a New Yorker always a New Yorker, and an avid traveller, Chiara collaborates with international magazines and radio-television networks. She is also a visual artist, whose eco-works connect to her use of language: the title of each painting is inspired by the materials she upcycles on canvas. Her \u2018Material Puns\u2019 have so far been exhibited in four continents, across ten countries. She is a dedicated ARTivist, donating her works to the causes and humanitarians she supports, and is Professor of Phenomenology of Contemporary Arts at Istituto Europeo di Design in Milan.","sameAs":["https:\/\/www.cinemadailyus.com"],"url":"https:\/\/cinemadailyus.com\/?author=6"}]}},"_links":{"self":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts\/34422"}],"collection":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=34422"}],"version-history":[{"count":0,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts\/34422\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/media\/34423"}],"wp:attachment":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=34422"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=34422"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=34422"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}