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"Movie Room" Ep. 82 (preview). The program will air on December 1.






"Little Big Pictures" Facebook Update



"Moonlit Winter" Interview



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Director SHIN Dong-seok of Last Child (Interview)

Sep 04, 2018

by SONG Soon-jin




A couple loses their teenage son. The father, Sungcheol (CHOI Moo-sung), wants his son to be remembered as a hero who sacrificed his own life to save his friend, while the mother, Misook (KIM Yeo-jin), gives birth to another child to replace the son she lost and tries to find the will to live again. As the two of them deal with the sorrow of loss and are trying to heal in their own way, the boy their son saved comes into their lives. Kihyun (SUNG Yu-bin) is at first the subject of their hatred but they soon start showing him sympathy until one day, he confesses the secret behind their son’s death. How will the three of them live together after that? Last Child is the debut feature of Korea National University of Arts graduate SHIN Dong-seok, who previously directed the short films Stirring Ripple (2005) and Gahee & B.H. (2006) After winning the FIPRESCI Award at the Busan International Film Festival last year, Last Child was screened at the Berlin International Film Festival and the Seattle International Film Festival. The film looks into the abyssal pain struggle of the ones left behind after a loss. We met with director SHIN Dong-seok to hear about his filmmaking process.





Your film stars CHOI Moo-sung, KIM Yeo-jin, and SUNG Yu-bin, popular drama and film actors. Wasn’t it hard to cast them?


After finishing the first draft of the script, we created a casting list. These three names were the ones I wrote down first. Not only do they act well but the characters fit them perfectly. Most of all, imagining the three of them in the same shot made me very happy. Sungcheol looks cold on the outside but has a soft side to him, and that’s why I thought of CHOI Moo-sung. I found SUNG Yu-bin very attractive in The Tiger (2015). He looks so innocent when he smiles, but once he stops smiling, his face looks like he’s hiding some kind of secret. He turned out to be the exact same age as Kihyun. Usually, we would’ve gone through an audition process to cast this role but I suggested SUNG Yu-bin without him going through an audition. When we gave the script to KIM Yeo-jin, she was hesitant to read it. She said she was reluctant because it was such a heart-breaking story but after she read it, she felt relieved and consoled in some way. It’s a small film and when we were doing the casting, we didn’t even have a distributor. The actors agreed despite all that, so I’m thankful that they were willing to perform in it anyway.


Full Interview : Korean Film

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Director Shin Dong Seok, Choi Moo Sung, and Sung Yu Bin took pictures together.





[M/V] SE SO NEON "New Youth" - Last Child OST

✔️full ver.  →  새소년 SE SO NEON



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Drama Clip (PART 1.)

  • Drama Festival 2013: Haneuljae's Murder (MBC / 2013)


  • Heartless City (JTBC / 2013)



  • Fantasy Tower (tvN / 2013), omnibus drama series



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Drama Clip (PART 2.)

  • Mr. Sunshine (tvN / 2018)


  • Black Knight (KBS2 / 2017-2018)


Other Link : DramaKBS


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Booklet From Movie Moonlit Winter




"Sae Bom, would you regret if you didn't take me with you?"

'경수' (Kyung Soo), all-around boyfriend who helped Sae Bom's secret travel

- Sung Yu Bin -




HQ Version






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November 19, 2019


Sung Yu Bin of Moonlit Winter, Last Child - Actor that everyone should pay attention to


Sung Yu-bin is a rising star who was born in 2000 and has been building a strong presence since debut film "Punch" (2011) as the younger version of Yoo Ah-in's character. He has appeared in more than 20 works (film and drama) as someone's son or younger version.


Sung Yu-bin's strong performance for his role as Ki-hyun, a main character in the 2018 independent film "Last Child," whose body and mind grew sharply has been attracting attention and earned him Best New Actor Award. Since then, in 2019 he appeared as a fairly significant supporting role in film "Birthday" and "The Battle: Roar to Victory," recently he played a small role but made a contribution through the film Moonlit Winter. Sung Yu-bin's strength seems to be slowly penetrating the audience's heart with his natural and deep acting that fits his age.





Choi Min-sik said to Sung Yu-bin, "It seems that acting together with Sung Yu-bin will be hard to forget because of the bond between father and son. And I don't know if you will become like Kang Dong-won later."


Even though Sung Yu-bin was 15 years old at the time, he has been recognized as a great actor, his talent is expected to grow. What's important here is the director Shin Dong-seok saw film "The Tiger," he was thinking about Sung Yu-bin as soon as he saw him on screen, and wrote Ki-hyun's character of Last Child!!






Sung Yu-bin, who wanted to act according to his age rather than getting out of the child role, has already become a 20-year-old adult. I'm already looking forward to what he'll be cast for next year.


(just translating a few parts)


Source: https://blog.naver.com/mob42cho/221712342803


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Comments about Sung Yu Bin's acting in Moonlit Winter :


I have seen Sung Yu-bin several times in other works, his acting seems to be getting better everyday, he's one of the most anticipated actors in the future. (moviegoer)


Among young actors, especially the healthy energy exhaled by two actors, Sung Yu-bin and Kim So-hye, who personally I think they were really good performers and also made the play more lively. I'm looking forward to supporting the two actors even more!! (moviegoer)


More comments here

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Sung Yu Bin and Kim So Hye.  (Photo Credit. choisxx_)






#THE TIGER (2015)

Sung Yu Bin and Jung Ji So (formerly known as Hyun Seung Min).




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I Want to See Your Parents' Face



(Photo Credit. cinemaplus)


It's been more than two years since movie "I Want to See Your Parents' Face" finished filming.

The movie was supposed to release in 2018. I hope it will be shown next year.


"I Want to See Your Parents' Face" is about school bullying drama. Sung Yu Bin plays as Sol Kyung Gu's son.


#I Want to See Your Parents' Face
#I Want to See This Movie :(
#I Want to See Sung Yu Bin

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'Last Child': Berlin Review



A bereaved couple take their recently deceased son’s friend under their wing




Dir. Shin Dong-seok. South Korea. 2017. 124mins


Death, grief, reconciliation, truth — South Korean writer-director Shin Dong-seok tackles a weighty bundle of domestic-drama themes in debut feature Last Child, but handles them all with maturity and fine-tuned narrative skill. An impressive trio of lead performances and economical, involving dramatic progression will make this low-key but emotionally satisfying drama an appealing item for festivals above all; it should also put Shin on the map as a substantial new Asian talent to watch.


What could easily have toppled into melodrama territory is contained with sure-handed restraint by director Shin


The closest comparison in South Korean cinema to Shin’s approach would be the complex, emotionally rich dramas of Lee Chang-dong (Secret Sunshine, Poetry). Indeed, Last Child has one theme in common with the latter film; the bourgeoisie’s tendency to close ranks when orderly social appearance is under threat. Lead actress Kin Yeo-jin also appeared in Lee’s 1999 film Peppermint Candy. Where Lee’s films are novelistic in scope, however, Last Child is perhaps more of a novella, and arguably a tad over-extended in the final stretch which aims unpersuasively for a cathartic climax. This close misstep apart, Shin shows solid judgement as both writer and director, and has a formidable skill at eliciting nuanced performances.


The intimate drama focuses on a couple, Sungcheol (Choi Moo-seong) and his wife Misook (Kim Yeo-jin) who run a small town decorating company, and whose teenage son recently drowned in an accident in the nearby river. One day, Sungcheol spots Kihyun (Seong Yu-bin), a boy centrally involved in the event, being victimised by other boys, and ecides to honour his dead son by taking the youth —  a rather aimless outsider —  under his wing.


Despite disapproval from Misook, who is dealing with grief in her own different way, Sungcheol decides to train Kihyun as an apprentice; gradually, and not without difficulty, the boy finds himself rising to the challenge. The day comes when Eunchan is officially honoured for his bravery, and Kihyun graduates as a qualified craftsman. All seems set for satisfactory closure all round, until the true facts emerge about Eunchan’s death.


What could easily have toppled into melodrama territory is contained with sure-handed restraint by director Shin. Actors Choi and Kim bringing precise modulation to the gradual shifts in the couple’s relationship, and in their attitudes to Kihyun, who becomes a surrogate son to them; as the boy, young actor Seong nicely plays on the hard-to-read diffidence of this emotionally wounded character. Astute dramatic structuring makes for emphasis on Sungcheol in the first half and Misook in the second, as each discovers different aspects of the damage done to the life they have built.


Kim Young-tak’s detailed production design highlights the motif of interior decoration, which comes to assume metaphoric weight as a figure of the home and the ease with which it can be torn apart. And Lee Zi-hoon’s confident widescreen cinematography generally sticks to a mundane urban setting, but makes the most of the forest and riverside setting of the final act.



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The 10 Best South Korean Films of 2018

December 26, 2018 by Panos Kotzathanasis


2018 has been a rather interesting year for Korean cinema, which, despite the continuous turn towards Hollywood aesthetics and the non-stop production of crime-thrillers, managed to produce a number of interesting films, headed by the return of two of the contemporary greats, Kim Ki-duk and Lee Chang-dong.


The blockbusters were here once more, but the surprise came from independent productions, with a number of newcomers (Jeon Go-woon, Shin Dong-seok) and the return of some “older” directors (Baek Seung-bin, Kim Ui-seok) having large impact with their debuts, dealing with social issues, of which bullying was the most central one. Lastly, Lee Il-ha directed one of the best documentaries we have seen the latest years with “Counters” and Lee Byeong-heon directed one of the best comedy of the last years, with “What A Man Wants”.


Some films may have premiered in 2017, but since this occurred at the end of the year, I took the liberty of including them.

With a focus on diversity, here are the 10 best Korean films of 2018.


1. Burning
2. Human, Space, Time and Human

3. Last Child :star:



4. After My Death
5. Counters
6. I Have a Date with Spring
7. What a Man Wants
8. Microhabitat
9. The Spy Gone North
10. Man of Will


Source http://www.tasteofcinema.com/2018/the-10-best-south-korean-films-of-2018/2/

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July 21, 2018


[Guest Film Review] "Last Child" Screening at Fantasia Film Festival




Probably among the best family dramas Asia has to offer this year, "Last Child" presents a truly shuttering story, where layers of drama are placed atop one another, in a style that has much in common with the ancient Greek tragedy.


"Last Child" (festival entry) is part of the Asian selection at Fantasia International Film Festival


Seong-cheol and his wife, Mi-sook try to cope with a tragedy, as their son has recently drowned, trying to save a classmate of his, Gi-hyeon. Seong-cheol has thrown himself to work, as he runs an interior design entrepreneurship mostly dealing with wallpapers, while he has filed papers for his son to be accounted as a heroic citizen, an honor bestowed to people killed in a righteous account. His wife experiences the death of their only son much worse, shutting herself from the outside world, even including her husband, for whom she only has bitter remarks every time he mentions their son.


Eventually, and in a rather strange turn of events, Seong-cheol befriends Gi-hyeon, and after he learns of his miserable life story, since the kid has to live on his own, has no money, is bullied in school and has just recently lost his job, decides to hire him as a disciple. Soon, the boy grows on him, despite his wife's fierce protests. Even she, though, eventually takes a liking to Gi-hyeon, with the two of them taking him under their wing, as the beginning of a sense of harmony begins to appear in their lives. Alas, this sense does not last for long, as the truth about their son comes out.





Shin Dong-seok directs a genuine drama, where grief and sadness seem to encircle all aspects of life, and the moments of joy are few and brief. Using the concept of the "lost child" and examining how the parents can cope with a loss of that magnitude, Shin presents a number of social comments that deal with parenthood, bullying, the way schools function in order to protect their fame, coping with grief, forgiveness, and truth and its consequences. His story follows the lines of "nothing good goes unpunished" in the harshest way, in a tale that keeps getting worse as the script progresses.


Yet, through his very thorough character analysis and the realism that permeates the film, he manages to avoid completely the reef of sentimentality, thus presenting a movie that has nothing to do with melodrama, as is the common tendency in Korean cinema. The fact that there is almost no music in the film trying to draw sentiment from various scenes is a testament to the aforementioned.


Furthermore, and in the element that most reminded me of Greek Tragedies, in the end, he provides a complete catharses for his characters, after he has allowed them to sink to the deepest depths a human can reach. I found the fact that this catharses is presented in literally terms, through actual water, ingenious, and one of the best elements in the whole production.


On another level, Shin seems to use wallpaper as a metaphor, stating the fact that it can hide but not fix a problem, just like the efforts of the two parents, while the improvement of Gi-hyeon's skill in the job is a direct parallel to the relationship among the three, and their psychological situation.


Lastly, as the story progresses, Shin has also included some elements of thriller, particularly regarding the agony aspect of the genre, which adds to the entertainment the movie offers.


Lee Zi-hoon's cinematography complements the narrative to perfection, with him implementing mostly dark and grey colors that mirror the psychological status of the characters. Lee Young-lim's editing allows the events to unfold slowly, but not in lagging fashion, with a pace much faster than the usual implemented in art-house films (although this one should not be categorized there, despite some elements, as is the lack of music, that point towards the genre).





The acting in "Last Child" is of the highest quality. Choi Moo-sung as Seong-cheol is impressive as a man whose grief seems to have psychosomatic consequences, while both the way he warms up to the boy and the scenes where he erupts are presented elaborately. Kim Yeo-jin as Mi-sook highlights her succumbing to melancholy quite nicely, as much as the change she experiences, which seems to derive from her own, sheer free will. Sung Yoo-bin as Gi-hyeon has a more restrained role, but he is also very convincing in trying to hide his discomfort, while his monologue and the scene he erupts are his highlight, along with the scene where he finally acts as a happy kid.


"Last Child" is a great drama that manages to combine thorough character analyses with social comments and a genuine study about human grief, and conjunctively human psyche. A must-see.


Review by Panos Kotzathanasis



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During interview with Arirang TV, Tang Joon Sang called Sung Yu Bin. (2018/12/24)


So, Sung Yu Bin's ideal type is IU ;)

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  • Sung Yu Bin in 2015




  • Sung Yu Bin attended the VIP premiere of "Lost in the Moonlight" (2016)




  • "I Can Speak" stage greetings (2017)


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