Korean Directors Working In China

Oct 18, 2025 CFM Co-production, Daily, Director, Production 0

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The Chinese film market has been more approachable to Korean filmmakers with the co-production pact officially signed by China and Korea in 2014. Korean dramas and actors were once all people could talk about, but recently Korean directors are getting a higher profile.

The Chinese film industry, whose box-office revenue is surging at an annual rate of 30 percent, is thirsty for talents and content. Chinese films are also experiencing a fast transition from old-school style to more commercial genres. With limited local commercial filmmakers, Chinese film studios have started to look outside of China to find fresh blood to make movies with diverse genre films.

With a similar cultural background and fairly mature film industry, Korean directors have emerged as one of the top picks.

Korean directors make films in China mostly by getting a deal with a Chinese film studio or working on a China-Korea co-production. The genres Korean directors have made and are making lean heavily on rom-coms and horror films.

 

The ones that soared

Of all the films directed by Korean filmmakers, a few have successfully struck the box office gold. Those who did mostly remade what they have done well in Korea.

Director Ahn Byung-ki, best known for his horror movies like BUNSHINSABA and PHONE, directed a Chinese remake of BUNSHINSABA with the same English title in 2012. Though containing an unrelated plot from the original version, the film grossed a total of $9.6 million, which was a record high for a Chinese horror film. The film was followed up with a sequel BUNSHINSABA 2 in 2013 and BUNSHINSABA 3 in 2014.

Rom-coms are also coming into focus when Oh Ki-hwan’s A WEDDING INVITATION set a new high mark for Korean directors. The movie starring Bai Baihe and Eddie Peng scored $30 million in China and $118,000 in South Korea.

Co-produced by CJ Entertainment along with three Chinese production companies, the movie was based on Oh’s 2001 Korean film LAST PRESENT with a bit different storyline.

Kwak Jae-yong’s latest rom-com MEET MISS ANXIETY, on the other hand, took in $25 million in China in 2014. The film is seen as a follow-up to Kwak’s girl friend series including widely popular MY SASSY GIRL.

 

The ones that flopped

However, most of the attempts made by Korean directors in China didn’t make it into the big league or failed to recoup the cost.

TEARS IN HEAVEN directed by Kim Se-hun only made $93,000 in 2012 and BAD SISTER by Kim Tae-gyun, who wrote and directed VOLCANO HIGH and TEMPTATION OF WOLVES, collected a mere $1.6 million in 2014.

DANGEROUS LIAISONS in 2012, directed by Hur Jin-ho who created CHRISTMAS IN AUGUST and GOOD RAIN KNOWS, grossed a total of $9.8 million, which is not that bad in terms of box office. But adapted by famous screenwriter Yan Geling from Pierre Choderlos de Laclos’ 19th-century novel and starring Zhang Ziyi, Jang Dong-gun, and Cecilia Cheung, the movie cost more than $16 million to make.

 

Keep trying

It’s obvious that partially thanks to KOFIC Beijing’s help, more Korean directors are entering the Chinese film market, including Jang Tae-yoo, director of the SBS TV drama MY LOVE FROM STAR that enjoyed huge popularity in China, and Lee Hwan-kyung, director of HE WAS COOL and MIRACLE IN CELL NO.7.

Kwak Jae-yong also started shooting its second project in China, CRYING OUT LOVE, IN THE CENTER OF THE WORLD. Based on a 2001 Japanese novel that revolves around a guy’s recollections of a school classmate whom he once loved, the film features young idols Oho Ou and Zhang Huiwen.

More Korean directors will come to promote ko-productions, but how to choose the right project and how to make the film reach the Chinese audience remain the key problems to solve.

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