“The Zone of Interest,” directed by Jonathan Glazer, has become the highest-grossing art house film of the year, attracting over 180,000 viewers. (Image courtesy of Challan Film)
SEOUL, Jul. 15 (Korea Bizwire) – A surprising trend is emerging in South Korea’s cinema landscape as art house films are experiencing a surge in popularity, particularly among viewers in their 20s and 30s.
This trend, emerging in the wake of the COVID-19 pandemic, is challenging industry predictions and reshaping audience preferences.
According to data from the Korean Film Council, “The Zone of Interest,” directed by Jonathan Glazer, has become the highest-grossing art house film of the year, attracting over 180,000 viewers.
The film, which depicts the life of a German officer’s family living next to the Auschwitz concentration camp during World War II, has garnered critical acclaim and awards at prestigious events like the Cannes Film Festival and the Academy Awards.
This success comes as a surprise even to industry insiders. The film’s distributor, Challan, had initially set a modest target of 50,000 viewers, given Glazer’s relatively low profile in South Korea and the film’s subdued narrative style.
Wim Wenders’ “Perfect Days” has drawn 30,000 viewers in just ten days since its July 3 release. (Image courtesy of T.CAST)
Similarly, Wim Wenders’ “Perfect Days” has drawn 30,000 viewers in just ten days since its July 3 release. The film, which quietly follows the daily life of a Tokyo public toilet cleaner, has performed beyond expectations, prompting lead actor Koji Yakusho to plan a visit to South Korea to express gratitude to local audiences.
Other art house films have also performed well in 2023. “Poor Things” attracted 156,000 viewers, “Anatomy of a Fall” drew 103,000, “Late Night with the Devil” reached 100,000, and “Robot Dreams” and “Evil Does Not Exist” each surpassed 45,000 viewers.
Last year’s “Monster,” directed by Hirokazu Kore-eda, set a record for Japanese films in South Korea with 530,000 viewers.
This trend is primarily driven by viewers in their 20s and 30s. CGV’s ticketing system reveals that for “Monster,” 35% of spectators were in their 20s and 28% in their 30s.
“The Zone of Interest” saw 30% in their 20s and 39% in their 30s. Similar patterns held for other art house hits, with these age groups consistently making up the majority of audiences.
Industry experts attribute this phenomenon to several factors. Young consumers are increasingly seeking differentiated content that aligns with their desire for unique experiences.
Social media plays a crucial role, with younger audiences eager to share their cultural consumption habits online, often posting pictures of movie tickets or merchandise to showcase their refined tastes.
Film critic Youn Sung-eun notes, “Recent successful art house films are often formally innovative, which appeals to younger generations seeking fresh experiences amid a flood of content options. They’re choosing films that aren’t mainstream and haven’t been seen by everyone else.”
“Monster,” directed by Hirokazu Kore-eda, set a record for Japanese films in South Korea with 530,000 viewers. (Image courtesy of Media Caslte)
The trend also reflects a broader shift in cultural consumption patterns among South Korean youth. Similar to the recent boom in museum visits and classical performances, the art house film trend is part of a larger movement towards highbrow cultural experiences that are shareable on social media platforms.
A representative from a film company specializing in foreign art house distribution pointed out that films from “Monster” to “Perfect Days” all generated significant online buzz. “The younger generation tends to seek out trending works, which ultimately leads to box office success,” they explained.
However, this surge in popularity is not without its challenges. While foreign art house films, especially those acclaimed at international festivals, are finding success, many quality Korean independent films struggle to attract audiences.
For example, “You and I,” directed by actor Jo Hyun-chul, received critical acclaim but barely surpassed 40,000 viewers. Other Korean indies like “Adult Kim Jang-ha” (27,000 viewers), “The Hill of Secrets” (16,000), and “A Wild Roomer” (12,000) also underperformed despite their artistic merits.
Among industry insiders, there is growing awareness of the need to address this disparity. “Within the art house film sector, foreign films that can engage in more active marketing are leading in box office performance.
We need to find ways to overcome this polarization, as there are many excellent Korean films that deserve attention,” emphasized film critic Jung Ji-wook.
Lina Jang (linajang@koreabizwire.com)
