Continuing his recent historical costume drama run, rather than the contemporary-set tearjerkers featuring terminally ill patients and lovers for which he is primarily known in South Korea, Hur Jin-ho’s most recent feature, Forbidden Dream, retells […]
If one considers the 21st century as the definitive era of modern Korean cinema (aka New Korean Cinema), then the 1990s must serve as a transitional period, a breeding ground for cinematic experimentation that foreshadows […]
Once again I’ve come head to head with a genre-bending Korean film and as usual I feel it necessary to comment on this fact. Villain and Widow is Son Jae-gon’s third feature, after The Man […]
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