Cha Seung-Won 차승원 [Upcoming Movies: “Believer 2”, “Tyrant”, “ War and Revolt”]

[Jiyuu]

Thank you so much for the updates! I have a huge soft spot for Cha Seung Won (I think he's my "oldest" oppa crush) and funnily enough, Nam Da-reum is currently my youngest "crush". And they're both in Sinkhole! Really, really happy that it's doing well.

 

Looking forward to seeing this movie plus his upcoming series with Kim Soo Hyun. Thank you again for your hard work!

 

[anjuliet]

16 hours ago, Jiyuu said:

I have a huge soft spot for Cha Seung Won (I think he's my "oldest" oppa crush)

@Jiyuu I first saw him on 'A Korean Odyssey' and was blown away by his presence. He is also my oldest oppa crush (literally) and uh... Not sure if it's right to crush on younger ones.

 

I will need to watch his other dramas (if and where available), but I can't wait to watch his new one with KSH. 

[Helena]

@Jiyuu. @anjuliet 

Soompiers not familiar with CSW’s earlier works/movies loved him in several phases: ‘City Hall’, ‘The Greatest Love’, and variety show ‘Three Meals a Day’.

For Kim Soo-hyun, we noticed him from way back in tv dramas ‘Will It Snow for Christmas’ (2009) and ‘Giant’ (2010).  It was nice to see him grow into a huge star with ‘Moon Embracing the Sun’ and ‘My Love from the Star’.  
Na Da-reum is also a young talent who improves and grows over time right in front of us, many are happy that he is starting to get lead roles now. 

 

—

 

Daily Box Office - 2021-08-22 (Sun)
Rank | Title | Release Date | Admissions (Total) | Number of Screens | Revenue Share
1. Hostage: Missing Celebrity | 2021-08-18 | 184,104 (638,813) | 1,287 | 39.9%
2. SINKHOLE | 2021-08-11 | 136,335 (1,657,967) | 1,250 | 28.9%
3. Escape from Mogadishu | 2021-07-28 | 88,516 (2,781,182) | 968 | 18.1%


https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do
 
SINKHOLE - Daily Box Office
Date | # of Screens (Screenings) | Admissions (Total) | Rank
Before opening:  31 (77) | 7,361 (7,361) | N/A
Opening Day 1 (08/11): 1,431 (6,136) | 147,299 (154,660) | 1

Spoiler

 

Opening Day 2 (08/12): 1,441 (6,150) | 120,117 (274,777) | 1
Opening Day 3 (08/13): 1,491 (6,362) | 125,694 (400,471) | 1
Opening Day 4 (08/14): 1,572 (6,879) | 251,734 (652,205) | 1
Opening Day 5 (08/15): 1,603 (6,990) | 270,146 (922,351) | 1
Opening Day 6 (08/16): 1,584 (6,877) | 219,615 (1,141,966) | 1
Opening Day 7 (08/17): 1,477 (6,206) | 79,351 (1,221,317) | 1
Opening Day 8 (08/18): 1,206 (4,660) | 59,334 (1,280,651) | 2

Opening Day 9 (08/19): 1,234 (4,607) | 50,808 (1,331,459) | 2
Opening Day 10 (08/20): 1,239 (4,668) | 56,447 (1,387,906) | 2
Opening Day 11 (08/21): 1,252 (4,960) | 133,726 (1,521,632) | 2

 

Opening Day 12 (08/22): 1,250 (4,905) | 136,335 (1,657,967) | 2

 

—

 

https://en.yna.co.kr/view/AEN20210823002400315
Action thriller 'Hostage' tops S. Korean box office over weekend

By brk@yna.co.kr | August 23, 2021

SEOUL, Aug. 23 (Yonhap) -- The South Korean action thriller "Hostage: Missing Celebrity" topped the local weekend box office in its first week of release, data showed Monday.

The movie about the kidnapping of star Hwang Jung-min garnered a combined 454,000 ticket sales over the Friday to Saturday period, bringing its combined total to over 638,000 since its release last Wednesday, according to data from the Korean Film Council.

The disaster comedy film "Sinkhole" dropped to second place with 326,000 sales over the weekend. It posted a cumulative 1.65 million in attendance after its second weekend.

"Escape from Mogadishu," an actioner based on a true story about South and North Korean diplomats in Somalia, added 222,000 sales this weekend to surpass 2.78 million in total.

Night Shyamalan's latest thriller "Old" came in fourth with 51,000 sales, followed by the American adventure film "Free Guy" with 35,000.

This image provided by Next Entertainment World shows a scene from "Hostage: Missing Celebrity." (PHOTO NOT FOR SALE) (Yonhap)

Meanwhile, a total of 1.16 million people came to theaters over the three-day period, marking the second-highest weekend score since the fourth wave of the COVID-19 pandemic this summer, led by Korean movies.

More than 1.22 million people were recorded last weekend on the back of stellar performances by "Sinkhole" and "Mogadishu." (END)

[anjuliet]

6 minutes ago, Helena said:

‘City Hall’, ‘The Greatest Love’, and variety show ‘Three Meals a Day’.

For Kim Soo-hyun, we noticed him from way back in tv dramas ‘Will It Snow for Christmas’ (2009) and ‘Giant’ (2010).  It was nice to see him grow into a huge star with ‘Moon Embracing the Sun’ and ‘My Love from the Star’.  Na Da-reum is starting to get lead roles now. 

@Helena thank you, chingu, I will add these to my to watch list on MDL. 

[Helena]

@anjuliethope you will like it.

 

https://koreajoongangdaily.joins.com/2021/08/22/entertainment/movies/Sinkhole-Cha-Seungwon/20210822172900427.html
Cha Seung-won from 'Sinkhole' tells of humor despite disaster

August 22, 2021

 

Actor Cha Seung-won

“Sinkhole” broke Korea's record for gathering one million audience members to its big screen showing in the shortest amount of time among all the movies that debuted this year. 

The movie passed the 1 million mark on the sixth day after its release on Aug. 11. 

“That number really means something,” Cha Seung-won, an actor who plays a lead character in the movie, said in an online interview with Ilgan Sports, an affiliate of the Korea JoongAng Daily. “There aren’t that many Korean movies that gathered over 1 million viewers. That’s the remark when you start to see people who have seen the movie around you.” 

The movie tells a story of a house that collapses into a sinkhole hundreds of meters below the ground. One office worker named Dong-won had finally bought his own place in Seoul, and invited his colleagues over for a housewarming. Not long after everyone gathered, the entire building sunk into the ground, and Man-su, played by Cha, another tenant in the building who didn't have the best relationship with Dong-won, are all left underground together to look for ways to get out safe. 

Although it is a disaster movie, the film also tries to add some comical elements to ease the tone. Cha, who has acted as comical characters in other dramas and entertainment shows, shared more on how he felt while incorporating his style in the movie. Below are edited excerpts.

 

 

Q. Do you ever feel burdened thinking that the audience might be expecting you to do more comical scenes?

A. No. I don’t feel burdened by that. If they don’t laugh, they don’t laugh. I can’t hold any burden or responsibility for making them laugh.

Have you ever debated continuing your appearances on entertainment shows where you show a more comical side of you?

I have debated whether I should continue going on such shows. If I appear on commercials and go on entertainment shows, some sort of wall seems to collapse and I’m not sure what I should do with that.

Does this mean that you will be keeping a distance from comedy movies?

Of course I know that comedy is one category that cannot be left out when [people talk] about actor Cha Seung-won, as fans love that category. I personally do like comedy films, but I cannot only do what the audience wants me to do. I need to continue showing how I am refining my style. It is difficult to find that meeting point. The comedy one does today may not be as funny the next day. That’s what comedy is, and that’s why it is so difficult. This is something I need to work on. 

 

A scene of "Sinkhole" with actor Cha Seung-won [SHOWBOX]

What was it like being on KBS's morning talk show “Achim Madang” to promote the movie? Isn’t it rare for actors to be on such morning shows?

I’m not the first one. Even Richard Gere was on that show. But I rarely went on such morning shows, even right after I made my debut. I actually really enjoyed it this time.

What was it like to be on a show that’s much different from the reality shows you've been on?

It’s been a long time since I went on a TV program where there is a preorganized flow and everything is already set. After all that time, the organized style felt so new to me.

Would you want to start appearing in other long-running TV shows?

I told fellow actor Lee Kwang-soo that we should go onto “My Hometown at 6 p.m.” on KBS if the movie does well. How actors promote the movie really depends on the styles of each individual actor. I do have my own way to do things. I’m not sure if it’s the right way to do it, but I’m finding my own way to promote the film I’m in. 

How is the upcoming eight-episode drama “One Ordinary Day” on Coupang Play coming along?

The overall tone is very different from “Sinkhole.” Since it is a legal drama, there is a lot I have to memorize, and I have to control how much emotion I show. But it is fun to film; it has its own charm. The filming will be done by September, so you will be able to see it sometime in November.

 

BY PARK JUNG-SUN [kjdculture@joongang.co.kr]

[Helena]

http://www.koreanfilm.or.kr/eng/news/reports.jsp?blbdComCd=601008&seq=639&mode=VIEW
Hwang Jungmin Returns to the Top of the Charts

 

by Pierce Conran | Aug 23, 2021

HOSTAGE: MISSING CELEBRITY Leads the Way as Local Films Command the Market

 

 

Major local releases continued to lead the way at the summer box office as the Korean industry claimed 87% of sales over the past weekend. Admissions also remained high relative to the rest of the year, down a fraction from last weekend’s total with 1.16 million sales counted.

 
Box office titan Hwang Jungmin returned to the top of the charts one year after DELIVER US FROM EVIL with the new action-thriller Hostage: Missing Celebrity. A remake of the Chinese film Saving Mr. Wu, and the second film from Ryoo Seungwan’s production company Filmmaker R & K this summer, the Pil Gamsung debut opened with 454,000 sales (USD 3.92 million) over the weekend, with a total to 639,000 entries (USD 5.4 million) recorded over its first five days in theaters.

 
Last week’s champ, the disaster comedy Sinkhole, fell 50%, welcoming 327,000 viewers (USD 2.77 million) during its sophomore weekend. To date, the film has brought in 1.66 million spectators (USD 13.88 million).

 
Ryoo Seungwan’s Escape from Mogadishu remained a threat on the charts, slowing just 36% as it sold 222,000 tickets (USD 1.18 million) over the course of its fourth weekend. After just under a month on the charts, the film has accumulated 2.78 million admissions (USD 22.86 million) and is hot on the tail of the year’s biggest hit Black Widow, which has sold just under three million tickets.

 
Opening in fourth place was M. Night Shyamalan’s latest film Old, which filled 52,000 seats (USD 448,000) over the weekend, with 85,000 sales (USD 714,000) counted over its first five days.

 
Last week’s new Hollywood entry Free Guy was down 66%, selling 36,000 tickets (USD 311,000) in fifth place. To date, the Ryan Reynolds vehicle has brought in 252,000 viewers (USD 2.18 million).

 
All three of the top local releases should remain strong this coming week, while a new homegrown title, the horror film GUIMOON: The Lightless Door with Kim Kangwoo, is also poised to open high on the charts.
 

——Hope all 3 films will cross their break-even points: Mogadishu (3 million admissions), Sinkhole (2 million), Hostage (2 million).——

 

Daily Box Office - 2021-08-23 (Mon)
Rank | Title | Release Date | Admissions (Total) | Number of Screens | Revenue Share

1. Hostage: Missing Celebrity | 2021-08-18 | 52,852 (691,659) | 1,156 | 38.0%
2. SINKHOLE | 2021-08-11 | 38,359 (1,696,316) | 1,160 | 27.2%
3. Escape from Mogadishu | 2021-07-28 | 29,616 (2,810,798) | 902 | 20.5%
 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

 

SINKHOLE - Daily Box Office
Date | # of Screens (Screenings) | Admissions (Total) | Rank
Before opening:  31 (77) | 7,361 (7,361) | N/A
Opening Day 1 (08/11): 1,431 (6,136) | 147,299 (154,660) | 1

Spoiler

Opening Day 2 (08/12): 1,441 (6,150) | 120,117 (274,777) | 1
Opening Day 3 (08/13): 1,491 (6,362) | 125,694 (400,471) | 1
Opening Day 4 (08/14): 1,572 (6,879) | 251,734 (652,197) | 1
Opening Day 5 (08/15): 1,603 (6,990) | 270,146 (922,343) | 1
Opening Day 6 (08/16): 1,584 (6,877) | 219,615 (1,141,958) | 1
Opening Day 7 (08/17): 1,477 (6,206) | 79,351 (1,221,309) | 1
Opening Day 8 (08/18): 1,206 (4,660) | 59,334 (1,280,643) | 2
Opening Day 9 (08/19): 1,234 (4,607) | 50,808 (1,331,451) | 2
Opening Day 10 (08/20): 1,239 (4,668) | 56,447 (1,387,898) | 2
Opening Day 11 (08/21): 1,252 (4,960) | 133,726 (1,521,624) | 2
Opening Day 12 (08/22): 1,250 (4,905) | 136,333 (1,657,957) | 2

Opening Day 13 (08/23): 1,160 (4,357) | 38,359 (1,696,316) | 2

[Helena]

Daily Box Office - 2021-08-24 (Tue)
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share
1. Hostage: Missing Celebrity | 2021-08-18 | 50,028 (741,685) | 1,178 | 37.8%
2. SINKHOLE | 2021-08-11 | 35,374 (1,731,682) | 1,170 | 26.5%
3. Escape from Mogadishu | 2021-07-28 | 27,943 (2,838,733) | 904 | 20.5%

 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

 

 

SINKHOLE - Daily Box Office
Date | # of Screens (Screenings) | Admissions (Total) | Rank
Before opening:  31 (77) | 7,361 (7,361) | N/A
Opening Day 1 (08/11): 1,431 (6,136) | 147,299 (154,660) | 1

Spoiler

Opening Day 2 (08/12): 1,441 (6,150) | 120,111 (274,771) | 1
Opening Day 3 (08/13): 1,491 (6,362) | 125,694 (400,465) | 1
Opening Day 4 (08/14): 1,572 (6,879) | 251,726 (652,191) | 1
Opening Day 5 (08/15): 1,603 (6,990) | 270,146 (922,337) | 1
Opening Day 6 (08/16): 1,584 (6,877) | 219,615 (1,141,952) | 1
Opening Day 7 (08/17): 1,477 (6,206) | 79,351 (1,221,303) | 1
Opening Day 8 (08/18): 1,206 (4,660) | 59,334 (1,280,637) | 2

Opening Day 9 (08/19): 1,234 (4,607) | 50,808 (1,331,445) | 2
Opening Day 10 (08/20): 1,239 (4,668) | 56,447 (1,387,892) | 2
Opening Day 11 (08/21): 1,252 (4,960) | 133,724 (1,521,616) | 2
Opening Day 12 (08/22): 1,250 (4,905) | 136,333 (1,657,949) | 2
Opening Day 13 (08/23): 1,160 (4,357) | 38,359 (1,696,308) | 2
Opening Day 14 (08/24): 1,170 (4,304) |  35,374 (1,731,682) | 2

Opening Day 14 (08/24): 1,170 (4,304) |  35,374 (1,731,682) | 2

 

 

[credit: Showbox]

[Helena]

http://www.koreaherald.com/view.php?ud=20210825000807
Netflix released films to be screened in local CGV theaters

By Song Seung-hyun (ssh@heraldcorp.com) | Aug 25, 2021

Poster for special screening event “Netflix In CGV” (CJ CGV)

Due to the COVID-19 situation, some Korean movies have chosen to skip their theatrical release and gone straight to Netflix. But now, these movies will be screened in local CGV theaters, according to Netflix on Wednesday.

Last year amid the pandemic, the number of people who visited local theaters plunged 74 percent from the previous year. It was the greatest decline since the Korean Film Council started compiling box office data in 2004. This drop led thriller “Time to Hunt,” directed by Yoon Sung-hyun, to choose Netflix over a theatrical release in April last year. It was the first Korean movie to take this route. 

During the special screening event, “Netflix In CGV”, which will be held from Sept. 1 to 12 jointly by Netflix and local multiplex operator CJ CGV, seven movies, including “Time to Hunt,” horror flick “The Call,” directed by Lee Chung-hyun, sci-fi film “Space Sweepers,” directed by Jo Sung-hee, and “Night in Paradise,” directed by Park Hoon-jung, will be screened in 80 local CGV theaters.

“CGV and Netflix met halfway and decided to screen Netflix movies that audiences want to see in theaters while creating a new cooperative model that satisfies not only theater and OTT (over-the-top) operators, but also filmmakers and audiences,” a CGV official said in a statement. 

The proceeds from the special screening will be used for one of Netflix’s long-term corporate social responsibility projects that aims to preserve Korean classic films created over the last 10 decades.

Tickets for the event will be open for booking starting Thursday, and more details are available on CGV’s website and mobile app.

Netflix, which operates in more than 190 countries worldwide, entered Korea in 2016. It is currently the top streaming platform operator here, with more than 40 percent of the market share, followed by Korean platforms Wavve and Tving.
 

[Helena]

Daily Box Office - 2021-08-25 (Wed)
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share
1. Hostage: Missing Celebrity | 2021-08-18 | 66,261 (807,946) | 1,181 | 33.3%
2. SINKHOLE | 2021-08-11 | 42,955 (1,774,637) | 1,034 | 21.9%
3. Escape from Mogadishu | 2021-07-28 | 35,140 (2,873,873) | 825 | 17.8%
4. GUIMOON: The Lightless Door | 2021-08-25 | 18,900 (20,445) | 687 | 9.3%
5. Reminiscence | 2021-08-25 | 13,345 (13,782) | 545 | 7.0%
6. My Love | 2021-08-25 | 5,966 (6,878) | 241 | 3.1%

 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

 

[Helena]

Daily Box Office - 2021-08-26 (Thu)
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share
1. Hostage: Missing Celebrity | 2021-08-18 | 46,598 (854,588) | 1,184 | 37.1%
2. SINKHOLE | 2021-08-11 | 27,523 (1,802,208) | 1,051 | 21.7%
3. Escape from Mogadishu | 2021-07-28 | 24,460 (2,898,331) | 823 | 18.9%
4. GUIMOON: The Lightless Door | 2021-08-25 | 10,452 (30,920) | 663 | 7.5%
5. Reminiscence | 2021-08-25 | 4,406 (18,189) | 498 | 3.6%
6. My Love | 2021-08-25 | 3,434 (10,294) | 241 | 2.6%

 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

 

▲ 'Hostage' - 'Sinkhole' - 'Mogadishu' <Photosource=movieposters> © breaknews

[Helena]

Daily Box Office - 2021-08-27 (Fri)
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share
1. Hostage: Missing Celebrity | 2021-08-18 | 53,726 (908,329) | 1,239 | 37.5%
2. SINKHOLE | 2021-08-11 | 30,747 (1,832,965) | 1,053 | 21.4%
3. Escape from Mogadishu | 2021-07-28 | 29,955 (2,928,284) | 875 | 20.6%
4. GUIMOON: The Lightless Door | 2021-08-25 | 9,351 (40,275) | 647 | 6.1%
5. Reminiscence | 2021-08-25 | 3,915 (22,104) | 473 | 2.8%

 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

Related report: http://www.breaknews.com/sub_read.html?uid=830023

 

 

Daily Box Office - 2021-08-28 (Sat)
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share

1. Hostage: Missing Celebrity | 2021-08-18 | 116,735 (1,025,064) | 1,289 | 37.7%
2. SINKHOLE | 2021-08-11 | 74,791 (1,907,756) | 1,103 | 23.8%
3. Escape from Mogadishu | 2021-07-28 | 65,231 (2,993,515) | 994 | 20.8%
4. GUIMOON: The Lightless Door | 2021-08-25 | 16,489 (56,764) | 656 | 5.0%
5. Free Guy | 2021-08-11 | 9,499 (281,676) | 271 | 3.2%
6. Reminiscence | 2021-08-25 | 6,248 (28,352) | 495 | 2.1%

 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

Related Report: https://www.breaknews.com/sub_read.html?uid=830064

[Helena]

Daily Box Office - 2021-08-29 (Sun)
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share

1. Hostage: Missing Celebrity | 2021-08-18 | 114,631 (1,139,692) | 1,291 | 37.8%
2. SINKHOLE | 2021-08-11 | 74,605 (1,982,361) | 1,117 | 24.2%
3. Escape from Mogadishu | 2021-07-28 | 65,104 (3,058,619) | 1007 | 21.0%
4. GUIMOON: The Lightless Door | 2021-08-25 | 14,521 (71,285) | 650 | 4.6%
5. Free Guy | 2021-08-11 | 10,058 (291,734) | 287 | 3.5%

 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

 

—

 

https://k-odyssey.com/news/newsview.php?ncode=179541308188902
'Mogadishu' becomes most-watched film in 2021

 

김보람 / 2021-08-30

 

Spoiler

▲ This photo, provided by Lotte Entertainment, shows a scene from "Escape from Mogadishu," a South Korean actioner released on July 28, 2021. (PHOTO NOT FOR SALE) (Yonhap)

SEOUL, Aug. 30 (Yonhap) -- The South Korean action movie "Escape from Mogadishu" has topped a cumulative 3 million admissions to become the most-watched film in 2021, box office data showed Monday.  Directed by Ryoo Seung-wan, the film garnered 160,000 people over the weekend, bringing its combined total to 3.06 million, according to the data by the Korean Film Council.  Released on July 28, the big-budget tentpole starring actors Kim Yun-seok and Zo In-sung is based on the true story of the life-and-death escape by diplomats in South and North Korean missions in the capital city of Somalia during the civil war in 1991.  Its total audience number marked the largest among all releases in 2021, outnumbering the previous No. 1 "Black Widow" with 2.96 million.  Also, "Mogadishu" became the first South Korean movie to surpass the 3 million threshold since the zombie apocalypse flick "Peninsula" last summer.

Meanwhile, the Korean action thriller "Hostage: Missing Celebrity" topped the local weekend box office with a combined 285,000 over the Friday-Sunday period.  Its total admission reached 1.14 million, becoming the ninth 2021 film to have passed the 1 million-mark, including the Korean disaster comedy film "Sinkhole" and "Mogadishu."

"Sinkhole" placed second with 180,000 people over the weekend, with its total admission reaching 1.98 million.

A total of 768,000 people went to theaters during the weekend, marking the lowest weekend score in August amid tightened social distancing against COVID-19. (END)

(C) Yonhap News Agency. All Rights Reserved

 

——

 

English subbed clips

 

 

[Helena]

https://variety.com/2021/film/asia/korean-films-top-four-box-office-1235051642/
Local Films Fill Top Four Korea Box Office Places at COVID-Struck Weekend

By Patrick Frater | August 29, 2021

“Hostage: Missing Celebrity” held on to top spot at the South Korean box office as new release “Guimoon: The Lightless Door” gave local films the top four chart places over the weekend. But business is being held back by new health measures in the Greater Seoul area that were reintroduced last week.

“Hostage,” starring Hwang Jung-min, was a comfortable winner with a 38% market share, ahead of another holdover “Sinkhole” with 24%, according to data from the Kobis data service operated by the Korean Film Council.

 

“Hostage” earned $2.48 million on its second weekend of release, down 38% from its debut. Since its Aug. 18. launch it has accumulated $9.59 million.

“Sinkhole” earned $1.55 million on its third weekend. Since its Aug. 11 start in cinemas, it has built a cumulative total of $16.7 million.

 

“Escape From Mogadishu” held on to third place with a 20% market share and a $1.37 million weekend haul. Since its July 28 debut in Korean theaters it has amassed $25.1 million. That makes it the second highest grossing film of the year behind “Black Widow.” In terms of spectators and ticket sales, however, “Mogadishu” is now the most watched movie of the year in Korea, with 3.07 million spectators.

In terms of year-to-date aggregates, “Sinkhole” is now the sixth ranking film of 2021 in Korea. “Hostage” is already up to eighth place.

“Guimoon” scared up fourth place over the weekend with a $330,000 score earned from 692 screens. In the five days since its Aug. 25 release, it has earned $536,000. It is the story of a professor and some of his students who enter a closed down training center where a number of mysterious deaths previously occurred. The film was distributed by CJ Entertainment and benefited from some presentations in 4DX (moving chairs and atmospheric effects) and ScreenX (which makes use of a cinema’s side walls for a 270 degree show).

“Free Guy” held on to fifth place and was the top-scoring foreign title of the weekend, with $209,000. Since its Aug. 11 debut, it has accumulated $2.54 million.

While the return to chart dominance for so many local films is a fillip for the Korean production sector, the weekend was one of the weakest of the summer. Aggregate national box office was $6.68 million, compared with $9.82 million a week earlier. The downturn reflected the re-imposition of new social distancing measures intended to limit the spread of the COVID-19 coronavirus.

[Helena]

https://zapzee.net/2021/08/31/movie-sinkhole-breaks-the-break-even-point-by-mobilizing-2-million-viewers/
Movie ‘Sinkhole’ Breaks the Break-Even Point by Mobilizing 2 Million Viewers

by krishkim | images: Showbox

 

The disaster blockbuster Sinkhole continued to be a box office hit.

Sinkhole begins when a man’s house, which took him 11 years to obtain, falls into a sinkhole in a minute. Today, the movie starring Cha Seung Won, Kim Sung Kyun, and Lee Kwang Soo broke the break-even point by mobilizing 2 million moviegoers.

Amid the ongoing pandemic, Sinkhole has set great records in Korean cinema. According to the Korean Film Commission, Sinkhole recorded a cumulative admission of 2,002,190. Not only did the movie break the best opening week record, but it also set a new record of this year’s daily attendance for two days in a row.

 

Along with the news, the stars expressed their gratitude. Cha Seung Won, Kim Sung Kyun, Lee Kwang Soo, Kim Hye Jun, and Kwon So Hyun took a photo with their “finger hearts.” Their smiles and hearts full of gratitude provide pleasant energy to the audience, who visited the theaters despite the challenging time.

Source: Showbox
Translator Kim Hoyeun: If you are a fan of K-drama, K-movie, and K-pop, I am your guy. I will continue to provide you with up-to-date K-entertainment news.

[Helena]

http://builfilm.busan.com/bbs/content.php?co_id=sub0201
The 30th Buil Film Awards 제 30회 부일영화상 (2021) [Nominations]

[ homepage | instagram | facebook ]

 

Date: 2021-10-07

* Best Film 최우수작품상
'Moving on | 남매의 여름밤'
'Escape from Mogadishu | 모가디슈'
'Voice of Silence | 소리도 없이'
‘Introduction | 인트로덕션'
'The Book of Fish | 자산어보'
 
* Best Director 최우수감독상
Yoon Danbi 윤단비 ('Moving on | 남매의 여름밤')
Ryoo Seung-wan 류승완 ('Escape from Mogadishu | 모가디슈')
Lee Seung-won 이승원 ('Three Sisters | 세자매')
Hong Eui-jung 홍의정 ('Voice of Silence | 소리도 없이')
Lee Joon-ik 이준익 ('The Book of Fish | 자산어보')
 
* Best Leading Actor 남우주연상
Uhm Tae-goo 엄태구 ('Night in Paradise | 낙원의 밤')
Kim Yoon-seok 김윤석 ('Escape from Mogadishu | 모가디슈')
Yoo Ah-in 유아인 ('Voice of Silence | 소리도 없이')
Seol Kyung-gu 설경구 ('The Book of Fish | 자산어보')
Byun Yo-han 변요한 ('The Book of Fish | 자산어보')
 
* Best Leading Actress 여우주연상
Ye Soo-jung 예수정 ('An Old Lady | 69세')
Jeon Yeo-been 전여빈 ('Night in Paradise | 낙원의 밤')
Go Ah-sung 고아성 ('Samjin Company English Class | 삼진그룹 영어토익반')
Moon So-ri 문소리 (‘Three Sisters | 세자매')
Jeon Jong-seo 전종서 ('Call | 콜')
 
* Best Supporting Actor 남우조연상
Cha Seung-won 차승원 ('Night in Paradise | 낙원의 밤')
Huh Joon-ho 허준호 ('Escape from Mogadishu | 모가디슈')
Koo Kyo-hwan 구교환 ('Escape from Mogadishu | 모가디슈')
Yoo Jae-myung 유재명 ('Voice of Silence | 소리도 없이')
Jo Woo-jin 조우진 ('The Book of Fish | 자산어보')
 
* Best Supporting Actress 여우조연상
Lee Jae-in 이재인 (‘Hard Hit | 발신제한') 
Yeom Hye-ran 염혜란 ('Black Light | 빛과 철')
Esom 이솜 ('Samjin Company English Class | 삼진그룹 영어토익반')
Kim Sun-Young 김선영 (‘Three Sisters | 세자매')
Lee Jung-eun 이정은 ('The Book of Fish | 자산어보')

 

* Best New Director 신인 감독상
Lim Sun-ae 임선애 ('An Old Lady | 69세')
Yoon Danbi 윤단비 ('Moving on | 남매의 여름밤')
Hong Eui-jung 홍의정 ('Voice of Silence | 소리도 없이')
Kim Duk-joong 김덕중 ('The Education | 에듀케이션')
Lee Chung-hyun 이충현 ('Call | 콜')
 
* Best New Actor 신인남자연기상
Park Seung-joon 박승준 (‘Moving On | 남매의 여름밤’)
Kim Joon-hyung 김준형 ('The Education | 에듀케이션')
Shin Seok-ho 신석호 (‘Introduction | 인트로덕션')
Ha Joon 하준 ('Festival | 잔칫날')
Hong Kyung 홍경 ('A Distant Place | 정말 먼 곳')
 
* Best New Actress 신인여자연기상
Choi Jung-un 최정운 (‘Moving On | 남매의 여름밤’)
Lee Yoo-mi 이유미 ('Young Adult Matters | 어른들은 몰라요')
Ahn Hee-yeon 안희연 ('Young Adult Matters | 어른들은 몰라요')
Moon Hye-in 문혜인 ('The Education | 에듀케이션')
Lim Sung-mi 임성미 ('Fighter | 파이터')
 
* Best Screenplay 각본상
Lim Sun-ae 임선애 ('An Old Lady | 69세')
Lee Ki-cheol 이기철 · Ryoo Seung-wan 류승완 ('Escape from Mogadishu | 모가디슈')
Hong Soo-young 홍수영 · Son Mi 손미 ('Samjin Company English Class | 삼진그룹 영어토익반')
Lee Seung-won 이승원 ('Three Sisters | 세자매')
Kim Se-gyum 김세겸 ('The Book of Fish | 자산어보')
 
* Best Cinematography 촬영상
Kim Young-ho 김영호 ('Night in Paradise | 낙원의 밤')
Choi Young-hwan 최영환 ('Escape from Mogadishu | 모가디슈')
Park Jung-hwan 박정환 ('Voice of Silence | 소리도 없이')
Byun Bong-sun 변봉선 ('Space Sweepers | 승리호')
Lee Eui-tae 이의태 ('The Book of Fish | 자산어보')
 
* Best Music 음악상
Mowg 모그 ('Night in Paradise | 낙원의 밤')
Bang Jun-seok 방준석 ('Escape from Mogadishu | 모가디슈')
Dalpalan 달파란 ('Samjin Company English Class | 삼진그룹 영어토익반')
Jang Hyuk-jin 장혁진・Jang Yong-jin 장용진 ('Voice of Silence | 소리도 없이')
Kim Tae-sung 김태성 ('Space Sweepers | 승리호')
 
* Best Art Direction & Technical 미술/기술상
Art Direction 미술 | Kim Bo-mook 김보묵 ('Escape from Mogadishu | 모가디슈')
Martial Arts 무술 | Yoon Dae-won 윤대원 ('Escape from Mogadishu | 모가디슈')
Art Direction 미술 | Bae Jung-yoon 배정윤 ('Samjin Company English Class | 삼진그룹 영어토익반')
VFX | Jung Sung-jin 정성진・Jung Cheol-min 정철민 ('Space Sweepers | 승리호')
Art Direction 미술 | Lee Jae-sung 이재성 ('The Book of Fish | 자산어보')
 
* Popular Actor 남자 인기스타상
 
* Popular Actress 여자 인기스타상

 

 

[Helena]

Daily Box Office - 2021-09-01 (Wed)
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share
1. Shang-Chi and the Legend of the Ten Rings | 2021-09-01 | 138,144 (139,960) | 1,569 | 64.3%
2. Hostage: Missing Celebrity | 2021-08-18 | 29,345 (1,238,867) | 896 | 12.3%
3. Escape from Mogadishu | 2021-07-28 | 18,638 (3,128,332) | 702 | 8.1%
4. SINKHOLE | 2021-08-11 | 12,413 (2,033,397) | 645 | 5.5%
5. Don't Breathe 2 | 2021-09-01 | 9,174 (11,768) | 215 | 3.7%
6. CODA | 2021–8-31 | 4,762 (12,204) | 301 | 2.0%
7. My Love | 2021-08-25 | 1,692 (27,940) | 97 | 0.7%
8. GUIMOON: The Lightless Door | 2021-08-25 | 1,663 (83,083) | 159 | 0.6%
9. Gunpowder Milkshake | 2021-09-08 | 1,504 (1,676) |  9 | .4%
10. Someday or One Day | 2021-08-31 | 872 (2,960) | 99 | .3%

 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

 

▲ ‘Shang-Chi and the Legend of the Ten Rings ’ – ‘Hostage’ – ‘Mogadishu’ <PhotoSource=movie_posters> © breaknews

 

—

 

Daily Box Office - 2021-09-02 (Thu)
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share

1. Shang-Chi and the Legend of the Ten Rings | 2021-09-01 | 80,608 (220,568) | 1,635 | 54.6%
2. Hostage: Missing Celebrity | 2021-08-18 | 23,612 (1,262,472) | 900 | 14.3%
3. Escape from Mogadishu | 2021-07-28 | 16,546 (3,144,878) | 717 | 10.5%
4. SINKHOLE | 2021-08-11 | 11,207 (2,044,601) | 657 | 7.1%
5. Don't Breathe 2 | 2021-09-01 | 7,300 (19,068) | 210 | 4.5%
6. CODA | 2021–8-31 | 4,149 (16,353) | 301 | 2.5%
7. GUIMOON: The Lightless Door | 2021-08-25 | 1,546 (84,629) | 158 | 0.8%
8. Recalled | 2021-04-21 | 1,392 (335,051) | 1 | 0.5%
9. My Love | 2021-08-25 | 1,290 (29,230) | 102 | 0.8%
10. SNOWBALL | 2021-09-01 | 697 (2,750) | 101 | 0.4%

 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

 

[Helena]

Daily Box Office - 2021-09-03 (Fri) // preliminary numbers
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share
1. Shang-Chi and the Legend of the Ten Rings | 2021-09-01 | 92,323 (312,891) | 1,687 | 55.6%
2. Hostage: Missing Celebrity | 2021-08-18 | 26,790 (1,289,262) | 925 | 14.6%
3. Escape from Mogadishu | 2021-07-28 | 20,299 (3,165,177) | 720 | 11.4%
4. SINKHOLE | 2021-08-11 | 12,062 (2,056,663) | 639 | 6.8%
5. Don't Breathe 2 | 2021-09-01 | 7,836 (26,904) | 221 | 4.4%
6. CODA | 2021–8-31 | 4,129 (20,482) | 304 | 2.3%
7. GUIMOON: The Lightless Door | 2021-08-25 | 1,402 (86,031) | 144 | 0.6%
8. My Love | 2021-08-25 | 1,380 (30,610) | 94 | 0.8%
9. SNOWBALL | 2021-09-01 | 641 (3,391) | 87 | 0.3%
10. Someday or One Day | 2021-08-31 | 639 (4,173) | 92 | 0.3%
 

https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

Related report: https://www.breaknews.com/sub_read.html?uid=831767

 

—

 

Daily Box Office - 2021-09-04 (Sat) // preliminary numbers
Rank | Title | Release Date |  Admissions (Total) | Number of Screens | Revenue Share
1. Shang-Chi and the Legend of the Ten Rings | 2021-09-01 | 232,870 (545,846) | 1,778 | 60.2%
2. Hostage: Missing Celebrity | 2021-08-18 | 56,436 (1,345,880) | 989 | 13.7%
3. Escape from Mogadishu | 2021-07-28 | 42,519 (3,207,714) | 746 | 10.6%
4. SINKHOLE | 2021-08-11 | 27,521 (2,084,261) | 670 | 6.8%
5. Don't Breathe 2 | 2021-09-01 | 11,412 (38,320) | 248 | 3.0%
6. CODA | 2021–8-31 | 6,246 (26,727) | 308 | 1.5%
7. PAW Patrol: The Movie | 2021-08-18 | 2,159 (55,167) | 113 | 0.5%
8. My Love | 2021-08-25 | 1,808 (32,404) | 109 | 0.4%
9. GUIMOON: The Lightless Door | 2021-08-25 | 1,806 (87,837) | 163 | 0.4%
10. Free Guy | 2021-08-11 | 1,316 (301,245) | 58 | 0.4%
 
https://www.kobis.or.kr/kobis/business/stat/boxs/findDailyBoxOfficeList.do

[Helena]

https://k-odyssey.com/news/newsview.php?ncode=179538609060469
Marvel's 'Shang-chi' tops S. Korean box office over weekend

김보람 / 2021-09-06 08:48:07

 

▲ This image provided by Walt Disney Company Korea shows a scene from "Shang-chi and the Legend of the Ten Rings." (PHOTO NOT FOR SALE) (Yonhap)

SEOUL, Sept. 6 (Yonhap) -- Marvel Studios' latest superhero film "Shang-chi and the Legend of the Ten Rings" has topped the South Korean box office over the weekend, data showed Monday.

Released Wednesday, Marvel's first film with an Asian lead attracted 534,000 people during the Friday-Sunday period, bringing its combined total to 754,000, according to the data by the Korean Film Council.

It revolves around Shang-chi, played by Simu Liu, who must confront the past when he is drawn into the web of the mysterious Ten Rings organization.

The Korean action thriller "Hostage: Missing Celebrity" came in next with 135,000 over the three-day period, posting a cumulative 1.39 million moviegoers.

The action flick "Escape from Mogadishu" placed third with 103,000, and the disaster comedy "Sinkhole" ranked fourth with 66,000.

A total of 933,000 people went to theaters over the weekend, up from the previous week's 768,000. (END)

(C) Yonhap News Agency. All Rights Reserved

[Jiyuu]

On 8/23/2021 at 1:55 AM, Helena said:

@Jiyuu. @anjuliet 

Soompiers not familiar with CSW’s earlier works/movies loved him in several phases: ‘City Hall’, ‘The Greatest Love’, and variety show ‘Three Meals a Day’.

For Kim Soo-hyun, we noticed him from way back in tv dramas ‘Will It Snow for Christmas’ (2009) and ‘Giant’ (2010).  It was nice to see him grow into a huge star with ‘Moon Embracing the Sun’ and ‘My Love from the Star’.  
Na Da-reum is also a young talent who improves and grows over time right in front of us, many are happy that he is starting to get lead roles now. 

Just finished rewatching The Greatest Love and have finally watched City Hall yesterday (I've delayed this for a while because I'm not a huge fan of Kim Sun Ah--but she was quite good too).

 

Very different roles. Dokko Jin will probably always be my favorite but as Jo Gook, he's so compelling! I'm not into variety shows but ended up watching one (old) episode of Running Man to watch him as a guest.

 

Guess I'm on a CSW roll this month 

[Helena]

On 9/6/2021 at 10:07 AM, Jiyuu said:

I'm not into variety shows but ended up watching one (old) episode of Running Man to watch him as a guest.

I hardly watch variety shows as well, but I saw many..many episodes of ‘3 Meals a Day’ series.

I even caught the ones with Lee Seo-jin & Eric, PD Na Young-seok’s  other series ‘Youn's Kitchen’, ‘Grandpas Over Flowers’, …

 

 

Viu isn’t available in my area.  

 

 

http://www.koreanfilm.or.kr/eng/news/interview.jsp?blbdComCd=601019&seq=422&mode=INTERVIEW_VIEW
Art Director Kim Taeyoung Draws Isolation in SINKHOLE

Spoiler

by Ham Sangbum | Aug 25, 2021

“Art also had to survive and live on just like the disaster-stricken characters”

 

One day, a villa (term used in Korea to describe multiplexes or smaller apartments) suddenly falls into a sinkhole. People who were planning to spend a lazy weekend suddenly get stuck deep underground. They’re people in the lower middle class who only wish to have a place to call their own. Director Kim Jihoon and Art Director Kim Taeyoung who proved their outstanding abilities through the disaster film The Tower joined hands once again. While The Tower focused on the disaster itself, Sinkhole is more about pointing the camera towards the feelings of the people in a crisis. The way it shows how universal human emotions arise within a crisis stands out. The film’s mise-en-scène of the sinkhole and the villa that fell into it is outstanding, allowing the viewers to get more absorbed in the stories of the characters. We met with Kim Taeyoung, the art director who designed and built the look of Sinkhole and listened to the secret behind the movie. 

Cheongwoon Villa, its neighborhood, and the sinkhole that is 500m deep were all sets built by the production team. How did you come up with the artwork and the concept of Cheongwoon Villa?
A structure that would faithfully reflect the tone and manner of director Kim Jihoon’s story was our priority. We tried to make a villa with an exterior that didn’t feel out of place in the neighborhood of Jangsu-dong, while we tried to replicate the tone of newly built villas. We took into consideration the stories and the situations the characters would get into after the disaster, while coming up with the structure and picking the material for the exterior during the process of creating the artwork.

What was the first image of the sinkhole that came to mind while preparing for Sinkhole?
I had the word “isolation” in my had rather than image. When seen horizontally, the sinkhole would not be too far away, but when you look at it vertically, I wanted it to feel distant. Although they can see the sky and the people outside, I thought I should make the characters feel far away in isolation. 

 

After the villa falls into the sinkhole, the background and the different structures 500m underground looked impressive. Were there any references you were inspired by during the preparation stage?
What left a strong impression on me was the play 887 by Robert Lepage, which I watched during the early preparation stage of Sinkhole. I was greatly inspired by how the same apartment space changed into diverse spaces with unique characteristics, and received much inspiration to apply to the set of Sinkhole.

What kind of conversations did you have with director Kim Jihoon before shooting started, and were you given any special instructions?
Right from the start, director Kim Jihoon wanted to focus on physically realizing the spaces more than relying on CG. From the neighborhood of Jangsu-dong, which was used as the backdrop of the story, to the inside of the villa units, he expressed that having actual sets to support the story would be important.

You have collaborated with director Kim Jihoon for a while through films May 18, Sector 7, The Tower, I Want to See Your Parents’ Face, and now Sinkhole. As a colleague who worked with him for a long time, what kind of director is Kim Jihoon?
I worked with him on five projects until now, ever since I was an assistant. When he introduces me as a staff who worked on the greatest number of films with him, I’m honestly honored and proud. It has always been challenging to work with him as I often have to overcome difficulties that are hard to grasp. However, he always gives his trust to the staff in charge of the different parts, and is always actively giving us feedback. This energizes us to work harder together in order to come to a good result. This is what I find the most admirable about director Kim Jihoon, and it’s what I want to take after.

 

The production team built about 20 buildings to create a neighborhood where Dongwon (Kim Sungkyun) and Mansu (Cha Seungwon) live. It's like building a small town. What did you focus on the most during the set production, and what kind of brilliant ideas and know-hows did you apply?
The designing process and production took five months. The tone of Jangsu-dong, which is where the story takes place, was born after much deliberation with director Kim Jihoon. The 2,500-pyeong (approximately 8264.5m2) set was also designed in advance in both pre-disaster and post-disaster appearances, and changes were made according to each disaster situation.
The blueprint was complicated because we designed the interior in advance while thinking about how the disaster would develop and how the characters would move around in it. Actually, it would’ve been easier to have built separate sets. Despite that, we decided to make this complicated indoor set because the living spaces of these characters fall deep below underground, get isolated, then break down and sink. We thought this would allow the story to develop smoothly and the characters to move flexibly in the limited space as they face a gradually worsening disaster in isolation.

What are you most satisfied with out of the art direction you led for Sinkhole?
I remember the gimbal set the most, which we used to shake the set. We used two gimbal sets for the full interior of Dongwon’s house and also for all of the rooftop. All the spaces are meaningful to me, but the gimbal set used for the round floor was a special experience for me.
We constructed a semi-circular structure on which we placed the flat floor of the set. We came up with the diameter of the semicircle by taking the width of the set and after discussing the width and the angle of the maximum tilt with the special effects team. Throughout the production period, I was worried someone might get hurt thinking I could’ve designed it wrong by mistake. Fortunately, no one got hurt and the shoot went smoothly. I was relieved to read the actors' interviews where they said they were able to perform realistically thanks to the gimbal set.

You participated in large-scale disaster films like The Tower and Sinkhole. I think a common characteristic about the two titles is that they both have this image of “collapsing”. How were the two films different on site?
Sinkhole and The Tower differ in many ways, including the tone of the film, the aspect of the disaster, the production process, and the approach. First of all, The Tower is a fire disaster movie which takes place in two 108-story skyscrapers, so the set burned down or sank underwater and disappeared after just a few shoots. The art in the film suffered the disaster just like the characters in the story.
On the other hand, Sinkhole’s disaster is much smaller in scale and it happens to a five-story villa when it falls into a sinkhole. Because the sinkhole is so deep, the victims can’t climb out and there's no place to run because there are walls blocking them in every direction. The disaster had to be faced and overcome by the characters alone. The film art also had to survive and live on just like the disaster-stricken characters. The Tower had an overwhelmingly bigger number of sets and set types, but Sinkhole required more conversions of a single space.

 

I bet you have your own work philosophy after working on several disaster films as an art director.
Film art exists to support the story. The disaster is within the stories of the characters, and the different aspects of the disaster are express through how the individuals fight through it. If I follow through to the end of the story, I’m able to envision the beginning of the picture.

Why did you choose to be an art director out of the many different roles in filmmaking?
Film art is an area that covers many fields. The sentiments of the space, the tone, the light, and how the final picture gets made can all be summarized by the term, “mise-en-scène”. There are many areas to keep in mind, so you feel an even bigger sense of accomplishment. In addition, I get to meet new backgrounds and individuals with every script, and I must observe, feel, and express everything constantly, which I find are the charms of art directing.

Korean films are often regarded highly for the industry’s expertise and how completed the final projects look. Of course film art is getting praised as a part of that too. What would you say is the strength of film art in Korean films?
The art in Korean films not only conveys the tone, manner, and information on the characters and the situation, but also sentiments. It expresses the sentiments of the space and the characters, and that’s why the art in Korean films are more detailed than films from abroad. Every nook and cranny contains sentiments and emotions, and such delicate details make you want to analyze beyond what’s told through the story. I believe that is its strength.

Sinkhole  has been invited to the Locarno International Film Festival, Sarajevo Film Festival, and was selected as the closing film of the New York Asian Film Festival, receiving much interest from abroad. To close off, can you share a point the international audience should pay attention to?
The space where we live in and stay at is something we universally find precious. When your sole resting place in the midst of your busy life suddenly breaks down and starts to disappear, I think what you’ll realize is that more than the space, you’ll find the people whom you breathe and live with more important. The characters in this film also didn’t realize this because they became so used to the presence of each other, but in the end, the space they lived in and stayed at was there as a means for them to live with their precious ones. Even when a place of comfort breaks down and disappears, I hope you’ll see how the characters struggle for the people they cherish.