
A still from director Lee Chang-dong's “Burning.” Courtesy of CGV Art House.
By Jason Bechervaise
With more than 100 titles released each year, it's always a challenging feat to compile a list of the top 10 Korean films of the year. Although 2018 won't go down as one of the most fruitful years for Korean cinema, there have been a number of notable films, not least Lee Chang-dong's stupendous “Burning” that tops this list.
The following top 10 films were released in local cinemas between Jan. 1 and Dec. 31, 2018.
Few filmmakers can consistently make masterpieces, but Lee Chang-dong has managed it. Topping jury grids following its premiere at the Cannes Film Festival, “Burning” became the best reviewed film ever to bow on the Croisette.
Based on Haruki Murakami's short story “Barn Burning,” it centers on a love triangle between a mysterious young woman and two men. Starring Yoo Ah-in, Jeon Jong-seo and Steven Yeun, the film's premise is deceptively simple. As Lee Chang-dong pulls his viewers in, the story becomes increasingly layered and perplexing as he puts together an extraordinary narrative depicting the despair among young people.
Unfortunately, the film failed to strike a chord with audiences in Korea mustering just 528,000 admissions. But it has made history becoming the first Korean film to be shortlisted for the best foreign language academy award, and could well land a nomination.

The cast of “The Spy Gone North” at a news conference in southern Seoul on July 3. Korea Times file
Yoon Jong-bin's slow-burning spy thriller is an enthralling display of espionage that is more reliant on dialogue than set-pieces ― much in the same way as Kim Jee-woon's “The Age of Shadows” and Tomas Alfredson's “Tinker Tailor Soldier Spy.”
Hwang Jung-min stars as a South Korean agent who infiltrates the North in the 1990s to obtain intelligence on their nuclear plans.
Capturing the current geopolitical climate culminating in a rousing climax, it is arguably one of the best films dealing with inter-Korean relations.
When it comes to cinematic rhythm, Kang Hyeong-cheol (“Sunny”) is in a league of his own. Bringing together a dazzling display of visuals and a vibrant soundtrack in his latest feature, it will spur viewers to tap dance all the way home.
Set in a POW camp during the Korean War, a tap dance group is set up to improve the image of the camp following violence that breaks out between the prisoners. It stars Do Kyung-soo, Park Hye-su, Jared Grimes and Oh Jung-se.
Suffering somewhat from a weak ending, it is nevertheless a visual triumph.
Bagging a number of new director awards, Jeon Go-woon is a talent to look out for. Her feature debut is a distinctive and immensely enjoyable exploration of independence and happiness.
Esom plays a young woman in her 30s who is content just drinking whisky, smoking cigarettes and spending time with her boyfriend.
Addressing a recurring theme in Korean independent cinema with a focus on Korea's young people, it's a refreshing and richly stylized glimpse at the choices facing this generation.
Enigmatic and yet also entertaining, Zhang Lu's new feature that premiered at the Busan International Film Festival in October again illustrates his talent as both a writer and director.
Playing around with national identity, his non-linear narrative structure might be a challenge for some audiences. But starring Park Hae-il and Moon So-ri about an aspiring poet who takes a spontaneous trip to Gunsan with a woman he has feelings for, it's a richly rewarding experience, especially for those who can spot the numerous cameos.
Cleverly bringing an intensity to his narrative, this is another very impressive feature debut by a young filmmaker, Kim Ui-seok who tackles the subject of suicide.
Jeon Yeo-bin who has attracted much attention for her role in this film winning a number of awards is superb as a student suspected of playing a part in the disappearance of a high school student thought to have killed herself.
Refusing to strive for narrative clarity, Kim masterfully utilises the film's ambiguity to add to its potency.
Based on the Spanish film “Sleep Tight” (2011), Lee Kwon's thrilling feature follows a woman (Gong Hyo-jin) living alone while a mysterious man attempts to get into her apartment. With a strong female lead, it deftly deals with the difficulties facing women in Korea.
Superbly orchestrated on a mid-sized budget, it's evidence of how the industry is shifting its focus to lower budget films.

Yim Soon-rye, who directed “Little Forest.” Korea Times file
There is certainly a place for socially conscious films, but what's so enchanting about this film is how it whisks viewers away and takes them to idyllic rural Korea in which a young woman (Kim Tae-ri) returns to the countryside following struggles in the city. She does a lot of cooking.
It might be guilty of romanticizing life as a young person living alone in the middle of nowhere, but Yim Soon-rye's delightful film is sure to bring a smile to those who check it out ― and make them rather peckish.
It's not a top ten list without a Hong Sang-soo film on it somewhere. With at least two films premiering at festivals annually, he's as prolific as ever.
It stars his muse Kim Min-hee as a Seoul cafe patron who writes as she listens in on conversations taking place in the coffee shop. At a brisk 66 minutes he packs in a wealth of substance that's full of his idiosyncratic character, wit and brilliance.
Coming later than other films dealing with comfort women such as “Spirits' Homecoming”, it was a box office disappointment despite much critical affection for it.
Featuring an ensemble cast that includes Kim Hee-ae and Kim Hae-sook the film directed by Min Kyu-dong is based on the so-called Shimonoseki trials during the 1990s. The court drama follows a group of former sex slaves who sought an official apology and compensation from the Japanese government.
Less dependent on emotions in empowering the narrative, the film's strong production values, well-written script and superb performances make this an unforgettable viewing experience.