[The Second Take] The Korean Film Industry in Crisis: "Face" Shows the Way Forward

A 200 Million Won Project: Criticized for Irrationality and Labor Exploitation
But a Closer Look Reveals a Path for Cooperation Between Established and Emerging Directors

Movie Still Cut from "Face"

The net production cost of the film "Face" was 200 million won. It was completed after just 13 shooting sessions. This is not an independent film. Leading actors and staff from the commercial film industry participated. The youngest staff members received only the minimum hourly wage, while the rest were compensated through profit-sharing. Lead actor Park Jungmin gave up his appearance fee and will only receive profit-sharing payments.

This was possible because of director Yeon Sangho. He is a commercial film director known for works such as "Train to Busan," "Psychokinesis," and "Peninsula." He has extensive connections and influence in Chungmuro. When we met him on the 15th, he said, "I thought that if this project succeeds, it could open a new path for the production and distribution of low-budget films."

Contrary to expectations, controversy arose. There were criticisms that the production method was irrational and amounted to labor exploitation. Objections were also raised to the fact that it was released as a commercial film. On its release day (the 11th), "Face" was screened 3,368 times across 940 screens. It is rare for a film with a 200 million won budget to be released on this scale.

Director Yeon explained, "From the beginning, I did not intend to encroach on the realm of independent films." However, competing filmmakers are left feeling frustrated. An industry insider expressed concern, saying, "If cases like this increase, there will be even fewer opportunities for new directors, actors, and staff members."

In fact, even aside from "Face," the Korean film industry is in a precarious position. Many investors have turned away due to competition from OTT platforms. Even films backed by investment and distribution companies are experiencing repeated delays in starting production. It has become common for production companies to be asked for half of the investment amount.

This is also why no Korean feature film was invited to either the official or unofficial sections of this year's Cannes Film Festival. The contraction in investment has led to a shortage of new works. The industry is now in a position where it must worry about what films will be available for theaters next year.

Movie 'Face' Still Cut

To address this issue, the government launched the "Mid-Budget Korean Film Production Support Program" this year. This is the first time in Korea that a 10 billion won commercial film support program has been introduced. After reviewing 113 submissions, nine live-action feature films with net production costs between 2 billion and 8 billion won were selected. Each film will receive up to 1.5 billion won in support. However, the majority of recipients are established directors. Among commercial debut directors, only Kim Sunkyung ("Andong") and Kim Junggu ("Taste of Prison"), who has experience only with short films, were selected.

An established director, identified as Director A, pointed out, "If government support is concentrated on established directors in an already challenging investment environment, there will be no room for young directors to emerge. Nurturing commercial directors and providing seed funding for investment should be prioritized." Another established director, identified as Director B, emphasized, "We cannot rely on directors like Bong Joonho, Park Chanwook, and Lee Changdong for the next decade. The industry can only remain healthy if new and established directors work in harmony."

The government should revise this program to provide more opportunities for new directors, rather than distributing the budget mainly to established directors. The issue of reduced opportunities for established directors can be addressed by supporting the approach taken by Director Yeon. If a separate support track is established for small-scale projects with budgets under 500 million won, and the government backs a structure in which profits or shares are distributed to actors and staff, established directors will also have a foundation to continue their creative activities.

Director Yeon stated, "As long as there is sufficient pre-planning to streamline the budget and number of shooting sessions, small-scale productions are entirely feasible. It would be ideal if government support could help this approach gain traction."

If established directors can continue their careers and prepare new works while new directors keep emerging, the film industry can regain its health. Director Yeon has already confirmed this potential at the Toronto International Film Festival. He said, "When I made 'Peninsula' in the past, I thought that theatrical films needed spectacular scenes. However, after seeing the reactions of Toronto audiences, my perspective changed. Emotional spectacles focused on actors' performances were just as immersive."

The same is true in Korea. "Face" attracted more than 400,000 viewers within a week of its release. It surpassed its break-even point in just one day.