Korean film 'The World of Love' sparks conversation in China after years of hallyu ban

Actor Seo Su-bin stars as the protagonist Joo-in in the Korean indie film “The World of Love.” Courtesy of Barunson E&A

Gentle, yet uplifting and empowering. These are among the reviews flooding Chinese social media after “The World of Love,” a Korean independent film directed by Yoon Ga-eun, began making waves internationally.

The film, which opened in Korean theaters in late October, has already garnered critical acclaim abroad, including in China — a market that has been largely closed to Korean films and cultural products for several years due to political tensions.

A touching and nuanced exploration of resilience and agency in the aftermath of trauma, “The World of Love” swept two major awards at the ninth Pingyao International Film Festival in late September. Last week, the film also made a splash at the Hong Kong Asian Film Festival.

Since then, it has gained significant traction in China, with enthusiastic word-of-mouth propelling its popularity. Discussions about the film’s themes and positive reviews continue to grow on RedNote, a leading lifestyle-sharing platform in China.

The film begins with a depiction of Joo-in’s seemingly ordinary daily life, gradually revealing the traumatic event she endured. But Joo-in refuses to let her experience as a sexual assault survivor define her, despite how others perceive her. The film shines a spotlight on the struggles many trauma survivors face when their responses don’t align with societal expectations.

Its quiet emotional power has struck a chord with Chinese viewers, earning the film an impressive 9 out of 10 rating on Douban, China’s book and movie rating platform.

It joins the ranks of other highly rated Korean films like “Joint Security Area” (2000), “Silenced” (2011) and “Hope” (2013). Over 24,000 users have already bookmarked “The World of Love” on Douban, underscoring its growing popularity despite the limited access to Korean films in China.

What sets this film apart is its deeply human portrayal focusing on how individuals rebuild their lives after trauma, an issue often overlooked by society, according to a movie review in The Paper, a Chinese digital media outlet.

“Unlike typical issue-driven films that urge audiences to confront social problems head-on, this film invites viewers into deep reflection. It’s a work that truly cares about the specific and often overlooked circumstances of individuals,” the article noted.

The review further praised Yoon's directing for her empathetic approach to the main character, refusing to reduce Joo-in to a mere “sexual assault victim.”

The film explores how people learn to live with past wounds — an angle that has struck a chord in East Asian cultural contexts. That complexity resonates with viewers as well. Rebecca Wu, a 29-year-old Chinese doctoral student in Seoul, said the film prompted her to reflect on how society too easily labels people who have experienced trauma as “unfortunate.”

“When we say ‘sexual violence has destroyed the victims, leaving their lives and futures shattered,’ we unintentionally trap them in a narrative of permanent victimhood, just like how Joo-in’s classmates did to her,” Wu said.

“We shouldn’t rush to definitive conclusions about certain social issues and rush to judge people after hearing their experiences. Instead, we should stay open-minded.”

Wang Yixue, a Shenzhen-based office worker who watched the movie in Hong Kong, said that the film shows the face of a survivor that has not been portrayed before.

“Instead of recreating the trauma events to warn the audience, the film delves into the state of those who have experienced harm, focusing on how someone lives with and coexists with their trauma after being hurt and what kind of attitude one should adopt when confronting past pain and so-called suffering,” Wang said, adding that the film can “encourage and empower survivors.”

Na Moon-hee stars as Moon-hee, a grandmother with Alzheimer's who becomes the sole witness to a hit-and-run accident involving her granddaughter, in the Korean film "Oh! My Gran" (2020). Courtesy of CGV Arthouse

Will Korean cinema return to China?

The optimism is further underpinned by the news that Yoon's movie secured a rare distribution deal with a Chinese firm, fueling hopes that it can break the status of no Korean film being screened in China over the last several years. According to Variety, Light Films Limited — a Chinese distributor known for curating arthouse and festival standouts — acquired the rights for the film’s release in China.

For nearly a decade, Chinese audiences have had limited access to Korean films in local theaters due to the unofficial “hallyu (Korean wave) ban” imposed by Beijing in 2016 in retaliation for Korea’s deployment of a U.S. Terminal High Altitude Area Defense system.

One rare exception was the comedy “Oh! My Gran,” which premiered in China in late 2021. Starring veteran actor Na Moon-hee as a grandmother with Alzheimer's who becomes the sole witness to a hit-and-run incident involving her granddaughter, the film earned a warm reception, likely due to Na’s popularity in China and the film’s familiar, heartwarming themes of family and humor.

In this context, many Chinese moviegoers have expressed on social media their hope that “The World of Love” could follow in the footsteps of “Oh! My Gran” and reach a wider audience through theatrical release in China.

A scene from director Yoon Ga-eun's "The World of Love" / Courtesy of Barunson E&A

Yet, despite the film’s rare distribution deal with a Chinese company, major hurdles remain. Skye Zhang, a 27-year-old worker in the movie industry in Beijing, welcomed the acquisition news but remained cautious about its actual reach, noting that it might still face challenges in reaching audiences due to the Chinese authorities' restrictions on Korean entertainment content.

“If it is eventually not nationwide released in China, I might go watch the movie in [select] cities where it is screened,” Zhang said.

There have been faint signs of a potential thaw in cultural relations between the two countries, with some K-pop fan meetings approved since last year, though larger K-pop concerts are still not permitted.

A recent diplomatic moment added fuel to speculation about renewed cultural ties as Chinese President Xi Jinping had a conversation with Park Jin-young, the K-pop mogul of JYP Entertainment and the head of the presidential commission on cultural exchanges, during his recent state visit to Korea. The exchange sparked renewed optimism that the long-standing freeze on Korean pop culture in China may be easing.

Still, major uncertainties remain. Securing a distribution deal does not guarantee national release in China. All foreign films must undergo a government content review and approval process, and China maintains a strict annual quota on imported films.

For "The World of Love" to be shown widely, it must navigate both political sensitivities and regulatory gatekeeping — obstacles that have long stymied Korean cultural exports to China.

Alyssa Chen is a China reporter with the South China Morning Post. She is currently based in Seoul, writing for both The Korea Times and the South China Morning Post under an exchange program.