The term is also gaining traction in the film industry. Recently, two low-budget horror films from Hollywood, 'Obsession' and 'Backroom,' have garnered significant attention for their unexpected box office success. Directed by Curry Barker, a YouTuber born in 1999, 'Obsession' was made with a budget of $750,000 and has grossed over $300 million worldwide. Similarly, 'Backroom,' directed by Kane Parsons, born in 2005, has also achieved remarkable box office results.
Both films are not part of major franchises nor are they new works from renowned directors. They are feature debuts from young creators in their twenties who built their audiences on YouTube before transitioning to film. These creators have brought the sensibilities of a generation familiar with online video, gaming, and internet culture into their work.
While Hollywood is embracing young creators as new drivers of box office success, the Korean film industry is experiencing a decline in investment and production, which is limiting opportunities for new directors to make their debuts. This reality was highlighted during the 22nd Mise-en-scène Short Film Festival, held on June 20 at CGV Yongsan I-Park Mall in Seoul, where discussions focused on finding new ways to discover emerging talent.
Jang Won-seok, CEO of BA Entertainment, noted that when the film industry was thriving, many new directors were discovered through a trickle-down effect. However, he pointed out that the Korean film industry has faced significant challenges in recent years, making it a difficult time for new directors to debut.
In contrast, Ko Kyung-beom, head of global projects at CJ ENM's film division, believes that the current crisis could present new opportunities for newcomers. He stated, "The market has returned to square one, and there are no successful models. It seems like a time when many new creators can find opportunities. Platforms like YouTube are opening doors for genuine competition, and the routes for discovering directors will diversify."
As traditional box office formulas are shaken, there is greater potential for creators with fresh perspectives to gain recognition. However, the diversification of discovery routes does not necessarily mean an increase in opportunities for feature directing. Even creators who have shown promise through short videos online must undergo further validation and development before being entrusted with feature films that involve substantial budgets and multiple stakeholders.
The Mise-en-scène Short Film Festival has long served as a prominent gateway connecting new directors with the film industry. Now, it must go beyond simply discovering and awarding short films to consider who will continue the work of selected creators and how. There is a need for follow-up processes that lead to feature screenplay development, meetings with producers, and investment reviews.
Production companies, investors, and support organizations should shift their focus from waiting for fully formed newcomers to actively discovering creators who have demonstrated potential through short films and online content, connecting them to projects early on. It is crucial to prioritize whether a creator's potential can lead to their first feature, rather than where they started.
The film industry has been waiting too long for the next Bong Joon-ho or Park Chan-wook. However, 'Obsession' and 'Backroom' have shown the potential of creators who have emerged from different paths, rather than simply following in the footsteps of masters.
Such creators already exist in the Korean film industry. What is needed now is a pathway for them to transition from short films and online content to their first feature. The 'Young Creator Crew' is already on the way. It is now time for the film industry to open its doors.
* This article has been translated by AI.
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