Park Hoon-jung, director of the upcoming Disney+ series, "The Tyrant," speaks during a press conference at a hotel in Seoul's Gangnam District, Monday. Yonhap By Park Jin-hai The trend of renowned Korean film directors moving to the small screen has surged since the global success of Netflix’s “Squid Game” (2021), directed by Hwang Dong-hyuk. Filmmakers like Lee Joon-ik, Yoon Jong-bin, and Hur Jin-ho have embraced the extended storytelling format of series, and now more directors are following suit.
Director Park Hoon-jung, renowned for the two-part film "The Witch," is making his small-screen debut with its spinoff, "The Tyrant." This upcoming Disney+ original action thriller stars Cha Seung-won, Kim Seon-ho, Kim Kang-woo, and Jo Yoon-su. The series revolves around a high-stakes race to recover a stolen bioweapon during a secret handover between Korean and U.
S. intelligence agencies, marking the neo-noir master’s transition to drama. Park initially planned to produce "The Tyrant" as a movie, but decided to adapt it into a four-episode drama series instead.
At a recent press conference for the drama, he admitted that the transition to the drama format has been challenging. "It was a challenging but interesting experience as I was not accustomed to the pace of drama production. With the emergence of OTT (Over-the-Top) platforms, I believe it's a matter of choosing the right medium," Park said.
Director Byun Young-joo appears in JTBC's talk show, "Movie Room," in this 2020 photo. Courtesy of JTBC Byun Young-joo, acclaimed for films like "The Murmuring" (1995) and "Helpless" (2012), is directing MBC's "Death to Snow White — Black Out," set to premiere on Aug. 16.
Based on a novel by German writer Nele Neuhaus, the drama centers on a man wrongfully accused of murder who, 10 years later, sets out to uncover the truth. She noted that filming a drama progresses much faster. "Unlike films, dramas require constant attention to the intersections of the narrative.
I spent a lot of time worrying that if these connections weren't well-woven, each episode would feel disconnected," Byun said. "Masquerade" (2012) director Choo Chang-min is releasing both the film, "The Land of Happiness," on Aug. 14 and the Disney+ drama, "Murky Water" (direct translation), a historical saga set in the 1392-1910 Joseon Dynasty, later this year.
The drama, penned by "The Slave Hunters" (2010) screenwriter Cheon Sung-il, follows the rise of a man to legendary status. Director Choo Chang-min speaks during a press conference for his latest movie "The Land of Happiness" at CGV in Yongsan District, Seoul, Aug. 8.
Yonhap Experts say this trend is largely attributed to the rapid evolution of the entertainment industry, particularly with the rise of OTT platforms. Jung Duk-hyun, a culture critic, notes that since the COVID pandemic, the movie industry has experienced a downturn, leading to a decline in the number of film productions. "In these circumstances, it is only natural to see many filmmakers venture into the drama industry, where deep-pocketed global streaming giants aim to scout those talented directors to make dramas with great cinematography," Jung said.
However, he warns that if film directors enter the drama industry primarily for financial reasons, it could negatively impact the quality of the content. "If they're drawn to dramas because certain narratives are better suited for a series format, that's excellent. It can introduce viewers to a wider array of storytelling and production quality, elevating the genre.
But, if financial incentives are the key motivation, directors might attempt to artificially extend short film concepts into lengthy series. This trend, if unchecked, could lower overall industry standards," Jung said. Another culture critic, Kim Hern-sik, observed that the Korean film industry is in a dire state, with declining box office numbers and a lack of investment.
"The film industry is facing a crisis with a shortage of new releases. It's a tough uphill battle for films to get noticed and even when they do, breaking into foreign markets is a lengthy endeavor. In contrast, dramas, especially those produced and released on OTT platforms, offer quicker feedback, wider reach and potential for international distribution," Kim said.
As this trend continues, existing broadcasting companies and entertainment giants like CJ ENM alike — along with domestic and global OTT services — tap film directors to make dramas, according to him. "Even traditional broadcasting companies like MBC need a new way out. Dramas made by these directors won't just be for domestic audiences.
They can easily be sold to other platforms. Given the director's name, there's potential for international recognition. So, it's worth a try," he added.
.
