Korean filmmakers urged to take creative leadership in productions with Hollywood
Actor Emma Stone in a scene from the film "Bugonia" / Courtesy of CJ ENM
Korean filmmakers must move beyond the passive role of selling original content and secure creative leadership in Hollywood partnerships to overcome the current domestic slump, according to the Korean Film Council (KOFIC).
KOFIC, a state-run agency that supports and fosters the local film industry, warned in its report released Friday that the industry can no longer grow just by relying on local box office sales or selling remake rights.
"A shift in the North American market entry paradigm is urgent," said Han Sang-jun, chairman of KOFIC.
Stating the importance of the North American market, which is the largest in the world, he emphasized that the council must establish a practical policy foundation that reflects the actual needs of the field to ensure that Korean film professionals can secure their share on the global stage.
“We need to prepare a promotion base centered on on-site demand along with the transition of the North American entry policy paradigm," he said. He added that he expects this study to serve as a major resource for pushing forward policies that vitalize Korean film entry and co-productions in North America.
The agency emphasized that the focus should shift toward a new model where Korean creators and their intellectual property (IP) lead the entire production process from the start. Recent collaborations like “Bugonia” and “The King of Kings” show that Korean creators are already becoming the central pillars of North American productions.
The report noted that while Korean filmmakers are gaining experience in Hollywood, they need to start building their own business deals instead of just waiting for American studios to hire them.
"If the policy infrastructure is not supported strategically and in a timely manner, there is a concern that the Korean film industry will ultimately remain in a position of performing only requested roles within the structure designed by the North American market," the report said.
According to the study, one of the biggest hurdles is the rigid legal definition of a Korean film, which often fails to recognize international projects led by Korean talent. To address this, KOFIC plans to overhaul its recognition standards to focus on the qualitative contribution of Korean directors and producers rather than just the percentage of capital investment.
This move is intended to ensure that projects like director Kim Jee-woon’s upcoming work “The Hole,” which are funded by American capital but driven by Korean filmmakers, can still receive institutional support within the framework of the Korean film industry.
"When deciding if a movie counts as a Korean film, we should look at how much control the Korean producers actually have and how much of their creative vision is in the project," the report said.
KOFIC is also restructuring its financial support by introducing a new international co-production quota for mid-budget films. They expect this policy effectively forces a global perspective on domestic productions from the early planning stages.