Korean cinema has returned to the Venice Film Festival podium after 14 years. Lee Chang-dong's latest film, 'Possible Love,' won the Jury Prize at the 83rd Venice International Film Festival. This marks the first time a Korean film has received this award, which is the second highest after the Golden Lion. The last time a Korean film won an award in the Venice competition was in 2012 with Kim Ki-duk's 'Pietà.' For Lee, this is his first award since winning Best Director for 'Oasis' in 2002, and it comes eight years after his last feature, 'Burning.'
Notably, during the award ceremony, Lee emphasized the purpose behind his film. He stated that he created 'Possible Love' to explore what cinema can do in an era where labor is disappearing and human relationships are fraying. Instead of focusing solely on the joy of winning, he reflected on his motivations for filmmaking. The film, which intertwines the lives of a couple of laid-off workers and a documentary filmmaker couple, delves into the complexities of contemporary society and human desires.
Korean cinema's strength on the global stage is evident in its ability to tackle pressing social issues. Films like 'Parasite' examined class divides, while 'Burning' explored the anxieties and anger of the younger generation. Rather than adhering to familiar box office formulas, these films have persistently probed uncomfortable aspects of Korean society, achieving international recognition. The success of these films cannot be attributed solely to high production costs or flashy visuals; it stems from creators' inquiries into what stories need to be told and why they matter now.
Despite the accolades, challenges remain for the domestic film industry. Last year, box office revenue fell by 12.4% compared to the previous year, with attendance dropping by 13.8%, totaling 1.047 trillion won and 10.6 million viewers. However, the first half of this year showed a significant recovery, with revenue and attendance increasing by 41.9% and 34.2%, respectively. While this is a positive change, it is premature to conclude that the industry's fundamentals have shifted based on a few successful films. In tough market conditions, investments tend to gravitate toward proven materials, well-known actors, sequels, and franchises, often sidelining innovative projects that are harder to market.
'Possible Love' is also significant as Lee's first film produced for Netflix. The landscape of film production and distribution is rapidly evolving, and the dichotomy between theaters and online streaming services is becoming outdated. What matters is not the platform but the stories that can reach audiences. The future competitiveness of Korean cinema hinges on how much room creators have to pursue their inquiries without being confined to commercial formulas.
Both the government and the film industry should not merely celebrate this award as another triumph for K-content. The strength of the film industry cannot be measured by producing a few blockbusters. A nurturing environment is needed where commercial films, independent and art films, newcomers, and established directors can tell their stories in their own ways. The industry must address the structural issues that lead to the premature demise of promising projects simply because they lack immediate box office potential. Lee interpreted this award as a call to continue asking questions, a challenge that also applies to the Korean film industry. In an era where commercial formulas and algorithms dictate the success of content, can enduring films still be made? Venice has reaffirmed that the strength of Korean cinema lies in its ability to deeply examine its own society and persistently question its narratives.
* This article has been translated by AI.
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