Post-Park Chan-wook: Who’s next?

Zero.

That’s how many South Korean films have been invited to the major sections of this year’s Cannes Film Festival in France. In sections considered the festival’s main events—such as the Competition and Un Certain Regard—not a single Korean film made the cut.

This reflects more than just a temporary slump. It marks the third consecutive year without a Korean entry in the Competition section since Decision to Leave (by Park Chan-wook) and Broker (by Hirokazu Koreeda) in 2022. Films like Yeon Sang-ho’s The Devil’s Deal and Kim Byung-woo’s Omniscient Reader’s Viewpoint were submitted but not invited. Highly anticipated titles such as Park Chan-wook’s It Can’t Be Helped and Na Hong-jin’s Hope were not submitted at all due to delays in post-production. Even more concerning is the lack of promising new names capable of contending on the global festival circuit.

From the outset, the mood within Korea’s film industry this year was one of caution. “The bigger issue now isn’t whether we can get into Cannes, but whether we can even complete a film,” said the head of a film production company. Cancellations during early planning stages are becoming more common, and an increasing number of emerging filmmakers are leaving the industry after only making a few short films.

Some point to structural limitations as the root of this stagnation. While Korea’s veteran directors have built global recognition for Korean cinema, the industry has failed to establish a sustainable pipeline to nurture their successors. The star system remains intact, but the broader industry has not prepared for the next generation. When a few big names are missing, the entire system falters—a structure that is clearly unsustainable.

To make matters worse, the overall vitality of the film industry is declining. According to the Korean Film Council’s 2024 Korean Film Industry Report, the number of domestic moviegoers dropped from 226.67 million in 2019 to 123.13 million in 2023. “Theaters have lost their buzz, projects are being delayed, and investment is drying up,” said an industry insider. “When the box office struggles, experimentation and diversity are the first things to disappear. That’s exactly where Korean cinema is now—on that precipice.”

The changing investment landscape is also narrowing the scope of creativity. OTT-based distribution has rapidly overtaken traditional theater-based production, making it especially difficult for mid- and low-budget films to secure funding. Experimental or artistically driven films are often abandoned during the planning stage. Filmmakers are now expected to write investor decks before writing scripts, and to talk numbers before stories. Creative autonomy is shrinking, and a risk-averse logic has become deeply embedded in investment decisions.

Still, hope hasn’t entirely vanished. The Mise-en-scène Short Film Festival, which was discontinued in 2021, is being revived. Korea’s independent film scene continues to fight for space, and many young directors are striving to carve out careers. However, within the industry, there is a shared understanding that individual effort alone cannot restore the ecosystem.

It’s time to rebuild a support system for emerging directors. One-off grants and short-term contests are not enough. What’s needed is a continuous support structure that spans from early planning through post-debut. The Korean Film Council should take the lead in developing multi-layered programs including scenario development, public funding, and international film festival strategy consulting. The results may not be immediate, but only by sustaining creative momentum can the diversity of Korean cinema flourish—and with it, a renewed path to Cannes.