The Best of K-Drama & Movies: Kinocine

Director Yeon Sang-ho, who has relentlessly explored the zombie apocalypse through *Train to Busan*, *Peninsula*, and the animated prequel *Seoul Station*, once again examines the ecological characteristics and evolutionary potential of "zombies" in his latest feature, *COLONY*. If zombies truly existed, what would they react to, what would be their power source (nutrients), and where would their survival end? While Danny Boyle’s recently released *28 Years Later* introduced a peculiar mutant strain, let us examine this new case presented by global zombie expert Yeon Sang-ho.

"The Palestinian Tragedy"  Tunisian director Kaouther Ben Hania has consistently and desperately addressed issues in Middle Eastern/Arab nations. Films like "Beauty and the Dogs" and "Shalla of Tunisia," introduced through festivals, have deeply impacted domestic film fans. Finally, "The Voice of Hind Rajab," winner of the Grand Jury Prize at Venice, is set for release in Seoul. Amidst the continuous sounds of war in the Middle East, leaving a profound scar on human civilization, I strongly urge viewing this film.

The long-unseen Spanish masterpiece El sur (The South) by Víctor Erice has recently been released in Seoul theaters. Until now, Erice’s films could only be encountered in cinematheques or among cinephiles — quiet treasures of film history. Yet The South is also an unfinished work, halted during production. What story did the director intend to tell, and what part of it remains untold? Can a truncated film still convey the essence of what the filmmaker envisioned? This is a film that quietly proposes what a “good story” and a “good film” might mean. Set in northern Spain in the 1950s, the film unfolds through the memories of a girl named Estrella, who recalls the years 1950 and 1957. At fifteen, she wakes to her mother calling for her missing father, Agustín, who has vanished without explanation. The narrative then shifts to Estrella at eight, preparing for her First Communion. Her family lives in solitude on the border between town and countryside — a kind of no-man’s land. On the roof...

During the 2026 Lunar New Year season in Seoul, Ozu Yasujiro’s 1959 masterpiece Good Morning (Ohayo) returned to theaters. Known for his "tatami shots," Ozu is celebrated for a style that contemplates life through fixed low-angle cameras, restrained editing, and repetitive daily dialogues. Unlike Akira Kurosawa, who depicted grand history and passion, Ozu captured the lives of common people with a minimalist eye. Good Morning is a vivid manifestation of this aesthetic. The setting is a newly developed suburban housing complex in 1950s Tokyo. The film unfolds through the landscapes of narrow alleys where small misunderstandings and rumors drift between tightly packed houses. Children play pranks on their way to school and gather at a neighbor's house after class to watch sumo wrestling on television. Their longing for modern gadgets reflects the rapid modernization and the dawn of a consumer society in Japan. At the heart of the story are two brothers, Minoru and Isamu, wh...

The director of this film, Kim Tae-yong, is not the husband of Tang Wei who directed Late Autumn. He is the Kim Tae-yong who directed Set Me Free and Misbehavior. Usually, after graduating from high school, people leave the home they grew up in and their parents as they move to other cities for university or jobs—much like Andy in Toy Story. In the journey of life, one thing we often forget is to count how many meals we have actually eaten that were prepared by our mothers—the so-called "home-cooked meals." If you return to your hometown for holidays like Seollal (Lunar New Year) or Chuseok and sit down with your family for a meal after a long time, you might find yourself doing the math: "How many more times will I be able to eat a meal prepared by my mother?" At this point, it might sound like a public service announcement—reminding you to be filial to your parents while they are still with you as their hair turns whiter each year, or to at least give them a phone...

Director Jang Hang-jun is perhaps best known to the public as the husband of star writer Kim Eun-hee, a witty raconteur, and a frequent face on entertainment shows. While he has a long career as a screenwriter and director, it might be difficult for some to immediately point to a single "signature" masterpiece. However, Jang’s talent extends far beyond comedy. From his debut script The Adventures of Mrs. Park to his previous thriller Open the Door, he has consistently shown a sharp eye for human drama. His latest film,  The King's Warden (왕과 사는 남자= The Man Who Lives with the King), reveals his true depth as a storyteller, showcasing a profound perspective on history and character. The film tackles one of the most enduring stories in the Annals of the Joseon Dynasty: the tragedy of King Danjong and his uncle, Grand Prince Suyang. In 1457, Lee Hong-wi (Danjong) is ousted from the throne and exiled to Cheongnyeongpo, a remote mountain village in Yeongwol. Amidst the looming ...

Emily Brontë’s sole novel, Wuthering Heights (1847), has been adapted for the screen once again. For those who grew up with "Great Illustrated Classics" or the black-and-white Laurence Olivier version, expectations were likely high for a story of yearning, obsession, and a love that transcends death on the desolate, windswept moors. However, Emerald Fennell—the director behind Promising Young Woman, a tale of a woman’s seven-year quest for revenge—has crafted a version that is anything but a bedtime story. The film opens with a public hanging in an 18th-century English town. In this bleak, crude, and eerie setting, death is a form of entertainment for the masses. This grim atmosphere sets the stage for Catherine, the daughter of the Earnshaw family living at the windswept "Wuthering Heights." When her alcoholic father brings home a scruffy waif from the streets, Heathcliff becomes both Catherine’s companion and the target of abuse. They grow into soulmates in the co...