Baek Byung-yeul is a journalist at The Korea Times focused on cultural content, including films and cultural events in South Korea. You can contact him at baekby@koreatimes.co.kr to share your insights.
INTERVIEW 'Lost in Starlight' director Han Ji-won sets new course for Korean animation
Director Han Ji-won / Courtesy of Netflix
By Baek Byung-yeul
Han Ji-won, director for Netflix’s first Korean animated feature “Lost in Starlight,” showed a calm confidence as she discussed her film, emphasizing that animation still remains a profoundly effective medium, particularly for adults.
"I think animation is a good medium for adults because we often leave behind certain emotions while living busy lives," the director told The Korea Times Monday at a cafe in Seoul. "Our film is about love and I believe animation is an efficient medium to show that."
“Lost in Starlight” is a heartfelt romance that showcases Han’s unique artistic style, set in the futuristic world of Seoul in 2050.
The film tells the story of Nan-young, an ambitious astronaut voiced by acclaimed actor Kim Tae-ri, who dreams of exploring Mars, and Jay, a talented musician voiced by Hong Kyung, whose artistic pursuits have taken a back seat.
Their encounter, sparked by Nan-young's quest to repair her late mother's cherished turntable, leads them on a journey that transcends the space-age cityscapes of Seoul and the vast distance between Earth and Mars.
When asked about the inspiration behind combining two rarely seen genres — sci-fi and melodrama — Han points to her lifelong love of anime and emotionally complex storytelling.
"I think my tendencies as an indie animation director and the great works I grew up watching, have shaped my approach. I wanted to use animation to deliver stories that feel authentic to us,” she said.
"Lost in Starlight" took years to see the light through the streaming giant. Originally conceived as a music video a few years ago, the project caught the attention of Climax Studio, which encouraged Han to expand it into a feature.
"Climax had connections with Netflix, so the film’s journey to the platform felt natural," she explained, adding that the global reach of the streaming platform made it possible to show an animated adult romance film.
A scene from the animated film "Lost in Starlight” / Courtesy of Netflix
Bright future for Seoul
One of the most striking aspects of "Lost in Starlight" is its distinctive visual aesthetic. Unlike many near-future narratives that show dark and bleak dystopian worlds, Han described futuristic Seoul as bright and harmonious.
"I was born near Seoul and grew up in the city for a long time. I really love Seoul," she said. "I didn't want to portray this story about young people in a bleak outlook."
She cited films like "Her" (2013) as inspirations, favoring worlds that weren't overly grim, and envisioned a future where technological advancement coexists with warmth.
"I didn’t want to depict a bleak world. Instead, I imagined a future where technology brings people closer, and the city remains vibrant and familiar,” Han said.
The animation incorporated real places she had visited and familiar spots for herself and her peers, including the Sewoon Plaza and Nakwon Musical Instrument Arcade in downtown Seoul, which are currently hubs for young artists.
“I thought more about what would be left rather than how to make it more futuristic," the director said.
Despite the irreversible rise of 3D animation in the industry, Han remains passionate about the charm of 2D animation.
"There’s something irreplaceable about the warmth of hand-drawn scenes of 2D animation," she said. "Even popular 3D works are often styled to look like 2D, which shows how much audiences still love that aesthetic."
Nan-young, voiced by actor Kim Tae-ri, in a scene from Netflix's animation "Lost in Starlight" / Courtesy of Netflix
Rise of Korean animation
Han acknowledged the historical challenges faced by the Korean animation industry throughout her career.
"From the moment I decided to work in the animation scene, there was never a time when this industry was easy to live in," she said. "It was always a struggle, but even so, the resolve of those who want to do animation is no joke."
The director highlighted the growth of animation majors in universities and specialized educational institutions in Korea and the shift from a subcontracting structure, which is focused on drawing animation scenes ordered by prominent studios from the United States and Japan, to companies creating their own original ones.
"Now, studios trying to create their own works are emerging, wanting to do animation while maintaining a specific individuality that an animation director desires, while also pursuing commercial viability,” she said.
Han emphasized the importance of continuity and accumulated experience within the industry. She believes that if Korean teams can build on their experiences, similar to the way established studios in the U.S. and Japan did, the Korean animation scene will thrive.
"For an animated film, there's a production process, and it's crucial for team members familiar with this process to build history together and apply and strengthen the know-how gained from one project to the next,” she said.
Addressing concerns about the competitiveness of Korean animation, Han said: "The skills of each and every person who contributes to content are truly world-class."
She stressed the importance of supporting these creators, many of whom are world-class but choose to work in Korea.
"This is the point where originals are emerging, and just watching this scene will be a delightful point for animation fans."
When asked about her future works, Han revealed she is already in talks with Climax Studio about her next project. She hinted her next work will be even more genre-bending, with elements of dark fantasy and creature design.