For the first time in over a decade, no South Korean films will be featured in the official selection at this year’s Cannes Film Festival, marking a notable shift in the country’s cinematic presence on the global stage. The festival, scheduled from May 13 to 24, includes only one Korean work—a short animated film titled Glasses by Jung Yoo-mi—featured in Critics Week, which runs parallel to the main event. This is the first time since 2013 that South Korea is absent from Cannes’ official selection, and the third consecutive year without a Korean film in competition.
Historically, South Korea has enjoyed a strong presence at Cannes, with acclaimed filmmakers like Park Chan-wook, Bong Joon-ho, and Lee Chang-dong earning international acclaim. Park won Best Director in 2022 for Decision to Leave, and actor Song Kang-ho took home Best Actor the same year for his role in Broker. But observers now say the lack of newer voices at prestigious festivals highlights a deeper issue: the Korean film industry’s growing reliance on established auteurs and a need for younger talent to emerge.
According to industry experts, a significant factor in this shift is the rise of streaming platforms like Netflix, which have attracted top-tier directors away from traditional filmmaking. Notable examples include Yeon Sang-ho, best known for Train to Busan, who has since focused on Netflix originals such as Hellbound and Parasyte: The Grey. Korean content has flourished on global streaming services, becoming the most viewed non-English-language media on Netflix in 2023 and 2024.
However, this transition comes at a cost. While streaming projects often prioritize commercially viable genres like zombie thrillers and action, they may lack the thematic depth—such as political or LGBTQ issues—favored by international festivals like Cannes. This commercial focus, combined with the pandemic’s impact, has led to reduced investment in theatrical productions. The Korean Film Council reported a significant financial downturn in 2024, with only 16.4% of investments recouped, compared to a 10.9% profit margin in 2019.
Despite this, some signs of hope remain. More low-budget films are turning profits, and experts suggest that cinema, while changing, is not obsolete. Streaming may now dominate how Korean stories reach global audiences, indicating a transformation rather than a decline.
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