When I watch South Korean cinema, I’m usually satisfied with the acting. Rarely have I complained about the performances, even when it’s by former models and pop-stars making their big-screen debut. That doesn’t mean I haven’t seen bad acting, but rarely has an actor been so terrible that it’s killed the film for me. Well, maybe a few films.
Like many other film geeks, I have an affinity to certain actors, and it’s no different in my relationship with South Korean cinema. So as I was compiling this list, I had to make a distinction between best actors and best performances. I plan to make a separate list for best actors a bit later, so stay tuned for that.
I also decided to feature only one performance per actor, or this list would’ve been either too short or way too long. Most of these films are amazing, featuring the best acting the nation’s had to offer, so if you haven’t seen them, definitely check them out.
If a certain role from your favorite male, female, heartthrob, or sexpot is missing from this list, then definitely comment below and mention why you think they’re some of the nation’s best performances. I know for a fact that I missed some beautiful people, so definitely have at it.
20. Jang Dong-gun – “Tae Guk Gi: Brotherhood of War” (2004, Kang Je-kyu)
Jang in recent years has opted for big, international blockbusters instead of smaller, local fare. With “Tae Guk Gi: Brotherhood of War,” Jang is able to have both the intimate performance, as well as the large-scale production. He’s no stranger to action, especially war films, considering that he’s served in the military and has been casted as soldiers before.
Usually playing some form of lone wolf, Jang shares the runtime with his co-star Won Bin. Playing brothers, the two men complement each other quite well, despite Won’s inexperience at times bleeding through. While Jang doesn’t adopt some specific, quirky character trait, he does demonstrate a believable progression from concerned brother to an ace officer, before his character finally becomes completely desensitized and battle-hungry.
It’s a believable and heart-breaking character arc that’s resonated with audiences worldwide, especially veterans of the Korean Civil War. Whether or not these veteran’s actually looked and acted like Jang, you have to admit their connection to the character is something truly special, an achievement all on its own.
Ironically, his most out-there performance is his other role as a soldier in Kim Ki-duk’s “The Coast Guard,” but Jang doesn’t really get to do much in that film than act like a creep who’s descent into madness is somewhat unconvincing. Lately, he might be going the movie star route as opposed to serious acting, but (once again) with the right people and project, Jang can prove to his worldwide fans what’s he’s unstoppable.
Other solid performances: “Friend,” “Typhoon,” and “No Tears for the Dead”
19. Gianna Jun – “My Sassy Girl” (2001, Kwak Jae-young)
This one’s for the fans. I’ve found Gianna Jun to have a larger, international fan-base than her peers. Fans of anime will probably remember her in the live-action adaptation of “Blood: The Last Vampire.” Playing a prototype of what would eventually be described as the “manic pixie dream girl” years later, it’s not hard to see why many love this 2001 film and Jun in the role: she’s infectiously likable, despite the abuse she piles on her co-star.
Charming and volatile, Jun and her co-star Cha Tae-hyun are clearly having fun with the role, especially during the scenes in which they act out the parody movies that the characters are writing.
While Gianna Jun has done some excellent work later in her career, this is the role that really defined her as an actress. She might go for roles to break away from that playful image, but after watching “The Thieves,” a fun Gianna Jun is something that should never be kept hidden. Did I forget to mention that she’s breathtakingly beautiful? Yeah, that too.
Other solid performances: “The Thieves,” “The Berlin File,” “Uninvited,” and “Il Mare”
18. Ha Jung-woo – “The Yellow Sea” (2010, Na Hong-jin)
There’s a good reason why Ha has worked or is going to work with the nation’s best filmmakers. With a distinct, droopy-eyed expression, Ha has played heroes, villains, spies, boyfriends — pretty much all the roles young actor’s dream of playing. If you track his recent filmography, you’ll notice that his roles are only getting bigger and bigger.
When he joined forces Na Hong-jin for “The Chaser” and then “The Yellow Sea,” Ha’s career skyrocketed. Of the two films, “The Chaser” is a great showcase for the filmmaker, but “The Yellow Sea” is all about the actors. Ha plays the Yanbian (a Korean living near the Yellow Sea region) so convincingly, that you buy his wide-eyed wonder and uncertainty when his character sneaks into South Korea.
He got a coach to help with the region’s dialect that it almost sounds like he’s speaking a different language. His character starts the film telling a story about a rabid dog that gave rabies to his neighborhood, which is actually a fitting description of the tone of the film and the performances.
Ha is a lose dog being chased and trapped by gangsters, policeman, and authorities, nailing that desperation in both his acting, but also the action (a huge highlight in “The Yellow Sea”). On a side note: South Korean variety shows have also noticed that Ha has a distinct way of eating on camera, changing it per role. I thought it was interesting.
Other solid performances: “The Berlin File,” “The Chaser,” “Time,” and “The Terror Live”
17. Ryu Seung-beom – “No Mercy” (2010, Ryu Seung-beom)
When it comes to comedy, Ryu Seung-beom is one of the best. He excels in all his comedic roles as he does dramatic, which is impressive considering he started his career without any formal training. He has a look that can instantly make you laugh, but can also turn that same look into something much more sinister — whether in the same or different film. With “No Mercy,” Ryu opts for the latter while taking the performance to a degree that’s equally extreme and subdued.
The film itself is aggressively average for a South Korean revenge thriller, but Ryu’s antagonist is the highlight of the entire thing. His pitch and intonation hardly change (save for one line), and the character himself seems borderline catatonic. He actually reminds me of Brian Cox’s take on the Hannibal Lecter character in “Manhunter,” casual and calm without overacting.
At first glance, Ryu doesn’t come off as a psychopathic mastermind, but the actor understands what the role demands and takes it deathly serious. It can come off as cartoony (he has a limp and a cane) and might not work for some, but I think it’s his best performance outside of “The Unjust.” It’s definitely different, something I’d like to see Ryu do in future films. Let’s just hope the films turn out better than “No Mercy.”
Other solid performances: “The Unjust,” “The Berlin File,” “Conduct Zero,” and “Arahan.”
16. Kim Sae-ron – “A Girl at My Door” (2014, July Jung)
I didn’t think I was going to fit a child actor onto this list, but this young lady has impressed me in every one of her roles. Many will recognize her from playing the little girl that needs saving by Won Bin in “The Man From Nowhere.” Even though it was essentially the damsel-in-distress role, she did a fantastic job in making you connect with her playful and rascally persona.
In “A Girl at my Door,” her character is on the receiving end of beatings, insults, and harassment even from her own family — and if you’ve seen beatings in South Korean films, you know that it’s rough. It would be fair to say that this is a role she’s done before, as I’ve personally seen about three other films in which she does emote similarly. But Kim is excellent in gaining our sympathies, and the look of fear and worry on her face throughout is affective.
Even though she’s done this type of acting before, the finale requires Kim to go the extra mile. In the film’s climactic moment, Kim is asked to perform a scene that I feel most kids — hell, even most adults couldn’t pull off. Audiences will find it difficult to witness what happens to her character, but it’s a powerful scene, and clearly the film’s most memorable moment. If I can compare it to another performance, than it would have to be the children from “Silenced,” arguably doing some quite mature work there as well.
Other solid performances: “The Man from Nowhere,” “A Brand New Life,” and “Barbie”
15. Lee Eun-shim – “The Housemaid” (1960, Kim Ki-young)
As the film begins, Kim Ki-young spends time setting up the main family and their home in all it’s intimate detail. As soon as Lee Eun-shim’s titular character arrives, audiences can sense something’s off. Filmmaker Bong Joon-ho had described the character as a monster in a horror movie.
As Lee’s housemaid starts affecting the home in negative ways, the house warps into something much creepier. Rat killings and other horrors aside, Lee’s two-faced performance is an interesting and different for the time. She can act like a lost child when it comes to other characters, but when she’s busy seducing the father, her gaze and demeanor become much more menacing. For the 60s, it was pretty bold to see this type of sexualized performance.
I was already going to include her on this list, but this next bit of information sealed the deal: Her performance was so good that producers couldn’t cast her for future roles out of safety, ending her career before it ever took off. It’s been reported that audiences had such a visceral reaction to her performance that it would incite anger in certain crowds. Nowadays, this type of portrayal seems like a given but to see this done half a century ago makes this South Korean piece of art far ahead of its time.
Other solid performances: Well, at least she crushed it in one of the most important films in South Korean history.
14. Yun Jeong-hie – “Poetry” (2010, Lee Chang-dong)
When the director was writing the character, Lee wanted someone who was not only from an older generation, but also retained this purity that was ageless, “a little girl on the inside.” For 16 years, Yun Jeong-hie had already retired after a long career in acting, belonging in numerous South Korean classics. After meeting with Yun, Lee thought she was perfect. And she is!
At first glance, audiences will feel sorry for Mi-ja, since she single-handedly takes care of this really shitty grandson. But that doesn’t stop her from loving life and enjoying the world, making the rest of her journey all the more heartbreaking. When a pivotal event changes her family’s future, Mi-ja’s sunny disposition isn’t turned into a completely bleak, hopeless journey in which we spend time feeling sorry for the character (although, some of that happens).
Yun’s performance reveals a tenacious woman who’ll fight to keep her sanity, health, and ideals alive. You realize immediately that Lee didn’t cast Yun for her age, but for her talent and experience. Yun’s performance is powerful and moving.
Other solid performances: “Splendid Outing” and “Night Journey”
13. Lee Byung-hyun – “A Bittersweet Life” (2005, Kim Jee-woon)
Before Lee Byung-hyun became the new Snake Eyes or the T-1000, he’s had an amazing career in his homeland, working with some of the best South Korean filmmakers on some of the best films. When I think of physical performances, I tend to think of the action genre, where guys like Park Hae-il and Won Bin were able to make the physical transformation (i.e. train and bulk up) to complement the more physically demanding scenes.
Lee is no stranger to that kind of stuntwork, but what he does physically in “A Bittersweet Life” isn’t limited to his roundhouse kicks and punches. Here, Lee channels Alain Delon in playing the number two/gang enforcer for his criminal organization. The way Lee controls his movements, expressions, and speech say all that’s needed for the character. It’s a purely physical role that has him speak only when necessary.
Whether it’s a meeting with his boss or when he tries to obtain a gun, Lee’s reaction and nuances in his movement — despite being seated in both scenes — reveal two completely different emotional states. I do understand the criticisms that he and many similar actors get, hired for their popularity rather than actual talent. I can say that Lee is definitely great when working with the right people. If you need more convincing, also check out “Masquerade.”
Other solid performances: “I Saw the Devil,” “Masquerade,” “J.S.A.: Joint Security Area,” and “The Good, The Bad, The Weird”
12. Kim Hye-soo – “Tazza: The High Rollers” (2006, Choi Dong-hoon)
Like many other South Korean female actors, Kim Hye-soo is a gorgeous human being, capable of drawing the attention of men and women much like of her characters. The ultimate version of that persona has to be her role as Madam Jeong in “Tazza: The High Rollers.”
Here, she plays the cigarette smoking, femme-fatale who acts as a tantalizing guide in the underground world of high-stakes gambling. Choi’s decision to have her narrate the film was a smart one. Her narration is meant to lure the viewer into the film’s setting, despite the images stating otherwise.
Also, that voice. The performance exudes confidence — both physically and verbally — but it’s quite awesome to see what happens to that confidence when things get somewhat troubling for her character in the end. Despite being a film about men trying to be the world’s best gambler, she’s the clear winner. Similar character types have popped up in recent action and thrillers, but they feel like pale imitations of Kim’s role in this film. Like the best femme-fatales, it’s a character I can’t get her out of my mind.
Other solid performances: “The Thieves,” “The Hypnotized,” and “Kick the Moon”
11. Chun Woo-hee – “Han Gong-ju” (2013, Lee Su-jin)
As the film begins, the camera lingers on the background actors waiting in this school conference room, before finally ending the scene on the uneasy expression on Chun’s face. With one look, she sets the stage for the unrelenting performance and story that’s sure to follow.
Playing the high-school victim of a traumatizing assault, Gong-ju relocates to a different school and city to start fresh. But Chun’s performance conveys the weight of the incident still present in her mind, juxtapose to the care-free teenage personality prior to the tragic incident (and her new classmates).
When she says or hears something from an interaction that clearly affects her, Chun’s gaze feels like the character is struggling to contain herself. The moments in which she does seemingly start to break down are some of the hardest scenes to watch, commanding our sympathies through an incredibly minimal performance.
A lesser filmmaker would’ve had a moment in which the character just unleashes her emotions and verbally expounds to the audience her inner psychology. Here, it’s what Chun doesn’t do that’s equally, if not more impressive. As an up and coming actor, Chun hasn’t really done much. But after here memorable role here, I’m definitely interested in seeing what she does next.
Other solid performances: “Mother” (I guess she has a small role in that film)
10. Shin Ha-kyun – “Save the Green Planet” (2003, Jang Joon-hwan)
Shin’s a very popular actor in South Korea. Versatile and sporting a memorable smile, Shin has played all types of characters in big movies that I’m sure even fans worldwide will recognize him from his work with filmmaker Park Chan-wook. While the choice came down between this and “Sympathy for Mr. Vengeance,” I ultimately went with “Save the Green Planet” based on what Shin was asked to do for that particular film.
With “Mr. Vengeance,” Shin was heartbreakingly great as the Ryu, the troubled mute who’s dire situation only gets worse after a botched ransom. With “Save the Green Planet,” both Shin and the director Jang had the monumental task of balancing between crazy and sympathetic regarding the portrayal Shin’s character.
He plays it unhinged and crazy, but you can’t help but feel incredibly sorry for the dude. You feel so bad that by some miracle, you kind of want his crazy scheme to be validated: that the business executive in his captivity is actually an alien from Andromeda.
I’m not going to spoil the film, and if you haven’t seen it, I urge you to check it out. Tonally, “Save the Green Planet” goes in many different areas, but Shin shifts accordingly. It’s a gonzo movie with an equally gonzo lead performance that I feel many will find this film sticking with them long after it’s over.
Other solid performances: “Sympathy for Mr. Vengeance,” “The Frontline,” “No Mercy for the Rude,” “Thirst,” and “J.S.A: Joint Security Area”
9. Yoon Yeo-jeong – “The Housemaid” (2010)
Although Yoon Yeo-jeong has had a long career filled with several leading roles, she hasn’t affected me as she did in her supporting role as the elder housemaid who (with much contempt) guides the titular character through the twisted home of the rich family.
Yoon’s performance is fantastic. She’s stoic, hard, and no-nonsense when it comes to doing work for this uncaring family, but her performance suggests something hidden deep down in her character. While she’s great onscreen with the other cast members, it’s when she’s alone that the hidden resentment comes out at full force. It’s both comedic and surprising, but also informs much of what the character and film are trying to say about the punishing frustrations that come with working under some immoral and wealthy people.
I loved it, since her past roles are usually quite gentle. In a film designed to sell audiences on sex, scandal, and heightened drama, it’s amazing that the thing I remember most (other than the boning) is the journey/sub plot of a senior housemaid. When the character finally stands up for herself, Yoon’s delivery is unexpected and awesome.
Other solid performances: “Actresses,” “The Taste of Money,” “Hahaha,” and “Woman of Fire (1970)”
8. Moon So-ri – “Oasis” (2002, Lee Chang-dong)
Moon So-ri is one of South Korea’s talented, yet under-appreciated performers. She’s a character actor who’s been in indie films as well as big-budget blockbusters, rarely gunning for the spotlight like other performers her age, respectively. With “Oasis,” Moon plays a woman with cerebral palsy, trapped inside her own home by her family.
Moon’s performance is not only incredibly convincing, but must act in keeping the condition in mind while the character undergoes discrimination, attempted rape, and intimacy. On top of all that, Moon’s performance takes a complete left-turn during some of films most brilliantly inspired “dream” sequences that are designed to melt hearts. It’s a gut-wrenching performance that earned Moon several awards — both local and international.
Of all the people on this list, I feel that Moon deserves to be in bigger and better films. Her work has been stellar so far, but in a leading role like this, I truly believe she can amaze audiences.
Other solid performances: “Hahaha,” “The President’s Barber,” “Peppermint Candy,” and “A Good Lawyer’s Wife.”
7. Sol Kyung-gu – “Peppermint Candy” (1999, Lee Chang-dong)
Similar to choice above, Sol Kyung-gu’s performance in “Peppermint Candy” also spans the life of the lead character. Unlike “Ode to my Father,” “Peppermint Candy” operates on a slightly darker, formally different level. While “Ode to my Father” is a hopeful and somber looks at the struggle faced by Korean families during South Korea’s troubled political history, “Peppermint Candy” is almost damning in it’s tone, revealing the corruption of one’s character and soul as a result of the nation’s history.
Entrusted to display such change this time is Sol Kyung-gu. Today, Sol is one of the nation’s most bankable starts, despite being somewhat unknown internationally (unless you like those “Public Enemy” movies). Episodic in structure, the film tells the protagonist’s story backwards, using flashback to events that led to the character running in front of a train at the start of the film. As each flashback shows a different time period and event in the protagonist’s life, almost each scene has a moment in which Sol simply destroys you with his performance.
We not only watch a man lose his soul, but we feel every heartbreaking moment with him. Whether it’s his days as a young soldier, or when he visits an old flame in the hospital, Sol’s performance is heart-rending. Say what you will about Lee Chang-dong’s film and direction, but you can’t deny the man for providing some of the best, naturalistic acting in South Korean cinema.
Other solid performances: “Public Enemy,” “No Mercy,” “Silmido,” and “Cold Eyes”
6. Hwang Jeong-min – “Ode to My Father” (2014, Jk Youn)
Hwang Jeong-min has always been reliable in the grizzled, macho character, playing it naturally when many less fitting performers (read: pretty-faced) have to be convincingly tough and masculine. He’s definitely dipped his hand in other genres, but Hwang’s made a great career playing these tough-guy roles in a lot of South Korean thrillers.
Recently, he’s been a huge box-office draw, culminating to his career-highlight in the recent film “Ode to My Father.” An epic film and drama in it’s own right, “Ode to My Father” shows Hwang playing a man over the span of 60 years, struggling to keep his promise for the father that he lost as a child. In the film, Hwang plays the character from his 20s to his 70s (with old-age make-up and all). While each era feels distinct, Hwang doesn’t lose the fundamental personality of the character, despite the physical changes over time.
Originally, I was going to choose his role in “New World,” playing the Chinese-Korean gangster who’s twisted and fun performance was the standout of the film. I’m glad I caught this film, since it convinced me that Hwang isn’t just more than a one-note performer. It’s an example of when an actor play’s against type and the results are monumentally incredible. He’ll most likely take best actor for this role later this year.
Other solid performances: “New World,” “The Unjust,” and “A Bittersweet Life”
5. Jeon Do-yeon – “Secret Sunshine” (2007, Lee Chang-dong)
Like Song Kang-ho, I had a tough time choosing my favorite Jeon Do-yeon. Director Lee Chang-dong can get some amazing performances from his talent. This one in particular is so incredible that when it played in Cannes in 2007, she took best actress. Jeon Do-yeon’s performance isn’t just great, it’s uncomfortably realistic.
In doing research for the film, I found that Lee pushed Jeon to the brink of utter emotional destruction. Reading about it reminds me of the stories between Kubrick and Shelly Duvall during the making-of “The Shining,” to the point in which the last few shots of the “Secret Sunshine” isn’t Jeon acting, but her staring at during filming with fierce contempt — the camera’s happen to be rolling. Since the film is about her character’s tragedy and the subsequent mourning work, I expected a few scenes of her crying.
Jeon goes beyond the call of duty in that area. When she wails — coupled with Lee’s naturalistic direction — it feels like she’s right next to us. It’s an uncomfortably emotional gauntlet, one in which Jeon’s actual suffering is felt. I say Jeon and not her character, since the featurette’s I’ve seen behind “Secret Sunshine” had one extended sequence that showed Jeon losing her sanity in character (or not) while neck-deep in a lake.
Even after camera’s stop rolling and the crew comes to get her, Yeon hasn’t stopped crying, being far from calm. In “Secret Sunshine” she breaks down constantly, and it’s felt every time. This is a tough movie to watch, but “Secret Sunshine” is an amazing cinematic achievement from the nation’s best female actor.
Other solid performances: “The Housemaid,” “Untold Scandal,” and “Way Back Home”
4. Ahn Sung-kee – “Unbowed” (2011, Jeong Ji-yeong)
For over half a century, Ahn Sung-kee has endured with the South Korean industry through different political regimes and censorships in the arts. He can be found in both classical and modern South Korean cinema, bringing nothing but the best with the role he’s given. And trust me, he’s amazing, even when in some really shit films.
But so has someone like Morgan Freeman, a comparison that I welcome since Ahn is probably the only South Korean actor who can deliver a line about anything and have the immediate gravitas to back it. He’s so good that his subsequent performances have either maintained his level of talent or topped it in some way.
Even though “Unbowed” is a few years old, it’s a perfect demonstration of Ahn’s abilities. He plays a formerly renowned, but overall disgraced professor defending himself on an attempted murder charge. While his character is perceived as stubborn and arrogant by others in the film, Ahn plays the role like he’s the smartest person in damn city, too concerned with his innocence and injustice to stop and get people on his level.
As an audience, it’s engaging to his character fight the system in that manner. For me, he’s so talented that the last film he’s in that I’ve seen is my favorite performance. Although the last film I saw with Ahn wasn’t this one (it was “The Divine Move,” a serviceable action flick), “Unbowed” is clearly a one-man show, demonstrating South Korea’s master thespian at work.
Other solid performances: “Taebaek Mountains,” “Two Cops,” “Silmido,” and “A Ball Shot by a Midget”
3. Song Kang-ho – “The Host” (2006, Bong Joon-ho)
This was the toughest one. Song is probably the most charismatic actor in South Korea, responsible for many solid performances — both in leading and supporting roles. Believe me when I say I struggled with this choice, as Song himself deserves a short list of his own.
Ultimately, I went with “The Host.” While he broke out a few years earlier with “The Foul King” and “Memories of Murder,” “The Host” took his success and popularity to an international level. Playing on the actor’s more lighter side, Song’s character is a well-meaning, but dumb father who owns of a snack stand by the river. When the river gets attacked by a monster, it escapes while taking his daughter.
The happy-go-lucky idiot then becomes the simultaneous victim and utterly helpless guinea pig of the government, begging for nothing more than a sympathetic ear. Song expertly milks our sympathy until the final act, guiding the audience toward a propulsive finale in which we no longer see his character as helpless buffoon, but a determined force to be reckoned.
It’s only something that can only be done by either a solid movie star, a great actor, or some combination of both. Song is all of that, and audiences love him because he always gives a great performance, regardless of the film. He never lets anyone down, and with “The Host,” he does everything right.
Other solid performances: “J.S.A.: Joint Security Area,” “Memories of Murder,” and “The Attorney”
2. Kim Hye-ja – “Mother” (2009, Bong Joon-ho)
Kim Hye-ja is known as the “nation’s mother.” If you look at her long filmography, she’s played mother’s in many television shows, most notably the drama/soap “Lifetime in the Country,” in which she played the mother role for about two decades (also the longest running series in South Korean history).
When Bong Joon-ho was making his 2009 mystery thriller “Mother,” he knew it had to be Kim. As the titular character, Kim commands of every scene, drawing all the attention. Frail, vulnerable, but fiercely determined, you get that this helpless old woman would move mountains for her slow and disabled son. As Kim said herself, “She isn’t like any other mother. She’s like a beast, who acts based upon her instincts.”
At first glance, you wouldn’t suspect her character to be capable of anything close to that. It’s only a few minutes into Bong’s film that you realize her performance isn’t a variation of what she’s done. It’s a much more troubled and twisted portrayal. Bong and Kim purposefully subvert her image, resulting in one of the best South Korean films and performances in all time.
Other solid performances: It’s mostly Korean television drama that might be hard to track down.
1. Choi Min-sik – “Oldboy” (2003, Park Chan-wook)
Choi Min-sik’s near-iconic performance as Oh Dae-su is one of the many key elements that made “Oldboy” such a memorable and important film. It’s a brave performance — to say the least — doing some of the most unforgettable things for Oh Dae-su’s journey. In the role, Choi is visceral and incredibly thought-provoking.
Regardless of what phase/time in Oh Dae-su’s journey we’re at, Choi always acts accordingly, while simultaneously subduing this inner beast, manifesting itself during the more kinetic moments — something the man would take to the extreme a few years later with “I Saw the Devil.”
Since the film also spans 15 years, the character undergoes some physical changes as well, and Choi’s physical transformation from a drunk slob to a conditioned, yet anguished brute is convincing. He even kept that crazy haircut until filming was over! It’s a performance that builds to an unforgettably raw, uncompromising bit of acting that’s cemented Choi Min-sik as the nation’s best.
It’s no mistake that he’s currently responsible for being in some of the nation’s beloved, most successful films (critically and financially). He’s just that great.
Other solid performances: “Nameless Gangster,” “Failan”, and “I Saw the Devil”
Author Bio: Hanajun Chung is a geek and struggling writer. Once he got his degree, he found work mainly in post-production. But after studying journalism, he gained a newfound appreciation in writing about the things he loves, such as action flicks and South Korean cinema.