Korean film industry in peril: Can ‘Humint’ revive box office?

A scene from "Humint" / Courtesy of NEXT ENTERTAINMENT WORLD

Action scenes unfold carefully and ferociously, while romance lingers in quiet melancholy. Director Ryu Seung-wan, long regarded as one of Korea’s most reliable action filmmakers, expands his range with "Humint," a spy thriller that balances spectacle with emotional undercurrents.

The film opened on Wednesday. And with a production cost of 23.5 billion won ($16 million), excluding marketing expenses, the film stands among the most anticipated Korean releases of the first half of the year.

The title combines the words “human” and “intelligence.” Set partly in Vladivostok, Russia, the story follows the clash and uneasy cooperation between South and North Korean agents revolving around a female North Korean informant working at a restaurant.

At first glance, the premise evokes the cerebral espionage dramas associated with John le Carré. Yet "Humint" ultimately leans closer to the brooding atmosphere of Hong Kong noir, blending intelligence warfare with unresolved romance and internal tensions within North Korea.

The story follows Jo, a National Intelligence Service officer played by Zo In-sung, as he investigates an influx of North Korean narcotics into South Korea. After uncovering suspected human trafficking involving North Korean women linked to the Russian mafia and possible involvement by North Korean diplomatic officials, he travels to Vladivostok.

North Korea simultaneously dispatches its own agent, Park Geon (played by Park Jeong-min), to investigate disappearances of North Korean women near the border region. Upon arriving in Vladivostok, Park begins gathering evidence while growing suspicious of North Korean Consul General Hwang Chi-seong (Played by Park Hae-joon)

The tension deepens when Chae Seon-hwa, the informant recruited by Jo and played by Shin Se-kyung, is revealed to be Park’s former fiancée. As Hwang identifies her as a suspected spy, the three characters find themselves locked in a three-way standoff.

A scene from "Humint" / Courtesy of NEXT ENTERTAINMENT WORLD

"Humint" unfolds through a Mexican standoff centered on the informant Chae Seon-hwa, with Jo, Park and Hwang pointing guns at one another.

Each is driven by personal motives: Jo is weighed down by guilt and a sense of responsibility toward his informant, Park still harbors lingering feelings for his former fiancée and Hwang displays cold, ruthless cruelty.

While not groundbreaking in terms of plot within the genre, the film keeps audiences on edge through a finely balanced interplay of power and emotional conflict among the three men.

“The dynamics among multiple characters were important, not just romantic elements,” director Ryu said after a press screening on Feb. 4. “If the relationships between characters were not firmly established, the impact of the action won’t fully emerge.”

The film centers on relationships and emotional conflict, but Ryu’s direction has the actors deliver only essential information, allowing their expressions and vocal nuances to speak for themselves rather than relying on extensive exposition.

Viewers are drawn into a cold, somber atmosphere where humor rarely breaks through. Action sequences appear relatively sparingly for the genre, but arrive at carefully timed moments that deliver the impact audiences expect. The final action set piece, in particular, provides a climactic release that offsets the film’s earlier restraint.

A scene from "Humint" / Courtesy of NEXT ENTERTAINMENT WORLD

The cast deliver phenomenal performances. Zo In-sung anchors the narrative with composed gravitas. Park Jeong-min’s prickly, edgy demeanor adds sharp emotional contrast, while Park Hae-joon’s crooked smile reinforces his antagonistic presence, heightening the raw hostility among the characters.

The only exception is Shin Se-kyung, whose role largely centers on preventing the three men from pulling the trigger from the outset. However, her limited screen impact appears to stem more from the character’s narrative function than from her performance.

Stylistically, "Humint" leans closer to the classical appeal of espionage, action and romantic tragedy, rather than the vibrant, buoyant sensibilities often associated with younger directors.

For viewers who left theaters disappointed by Ryu’s previous works, such as "Smugglers" and "Veteran 2: I, The Executioner," the film serves as a reminder that Ryu still possesses the instincts that once brought him acclaim.

For those who still remember "The Berlin File," "Humint" offers points of comparison, with the two films sharing the same narrative universe.

As a director, Ryu is widely regarded as one of the most prolific filmmakers in the Korean film industry. From his debut "Die or Bad" (2000) to "Veteran 2: I, The Executioner" (2024), he has directed 13 films, drawing a combined 52 million moviegoers to theaters.

He remains the most-watched director in Korean theatrical history. The local film industry is closely watching whether the film can help revive a struggling market.

This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.