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The rise and triumph of South Korean director Bong Joon-ho is one of the best success stories in modern cinema. Hailing from a country that had little to no film industry, Bong Joon-ho crafted some of the most compelling and internationally accessible films from South Korea as well as ventures in Hollywood blockbusters, all of which have similarities in themes and style that conjoin them all into one of the most unique cinematic voices today. In anticipation for the director’s upcoming film ‘Mickey 17’ (2025), let’s take a look into the awarding journey of Bong Joon-ho.
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From Student Demonstrations to New Korean Cinema
The emergence of cinema in South Korea was what Bong Joon-ho became be an integral voice for. It was intertwined with the censorship of western influences within South Korea being lifted at the time and one of these results was a newfound rise in the popularity of cinema. Theaters and television stations were allowed to show a wider variety of movies and were hugely popular with primarily younger people. One of these growing film fanatics was Bong Joon-ho. Born September 14th 1969, his family moved around before settling in Seoul. He enrolled in Yonsei University and was active in student demonstrations, often being subjected to tear gas and other symptoms of such scenes. This proved to be the start of what kind of subjects would compel Bong to tell in his films including injustice from the government and the gaps between rich and poor.
At Yonsei, he joined a film club where he made his first short films and made friends with similarly minded individuals such as Park Chan Wook. After graduating in 1995, Bong did a two year program at the Korean Academy of Film Arts where he made more films and worked on productions of his friends. Eventually, Bong would find himself in a circle of similarly passionate producers and directors who would go on to give input on each other’s scripts and projects with some even going on to be internationally successful along with Bong, making a new movement in cinema known as New Korean Cinema.
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Bong Joon-ho came to make his first feature film ‘Barking Dogs Never Bite’ (2000) which is a dark comedy about a tenant who takes extreme measures to rid his apartment of pestering dogs. Plenty of promise is showcased with a blend of comedy and darker subject matter that would become a staple with almost all of Bong’s work. Few saw it upon release, but it was his subsequent film ‘Memories of Murder’ (2003) which received massive praise and recognition. About a team of unprepared detectives chasing a case on a murderer/rapist, the film became the most watched South Korean film of the year, even passing Park Chan-Wook’s ‘Oldboy’ (2003), another revered classic of South Korean cinema. It was also the first appearance in a Bong Joon ho film of Song Kang-ho who would soon become a regular actor in later films and one of South Korea’s most popular actors.
Following was ‘The Host’ (2006), another major hit for Bong about a town that is terrorized by a monster. Yet in typical fashion for a Bong Joon-ho, the beast and its destruction are not the focal point of the film while the social commentary and bond between characters are what take major precedence, elevating the movie from other monster movies. Furthermore, the film was a major stepping point for South Korean movies with it being the first film of the country to use extensive visual effects shots. As Bong furthered himself with each project, he began receiving international attention with the most popular praise being from Quentin Tarantino who listed ‘Memories of Murder’ and ‘The Host’ as two of his 20 favorite films since 1992. Later, Bong would pay heartwarming thanks to Tarantino at the Oscars when he said during his speech for winning best director “When people in the US were not always familiar with my films, Quentin always put my films on his list. He’s here. Thank you so much. Quentin, I love you.”
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An Entry into Hollywood Followed by Oscar Winning Success
After directing ‘Mother’ (2009), another mystery masterpiece, Bong Joon-ho found interest in adapting the popular French graphic novel series ‘Snowpiercer’. In order to realize his vision, he went to Hollywood, managing to convince multiple Hollywood bigwigs to fund the film simply by impressing them with his previous movies they had previously never seen. With a prolific cast, mixing popular American and South Korean actors, and a compelling commentary on the social class system, ‘Snowpiercer’ (2013) was released to modest success, though a minor issue was with the American distribution helmed by Harvey Weinstein who demanded needless changes which Bong slyly avoided doing. ‘Snowpiercer’ has since become a cult classic just like all his South Korean films.
Afterwards, he made another American produced film titled ‘Okja’ (2016) which aimed for a more comforting approach than his other films with a focus on issues regarding capitalism and environmental matters. Like ‘Snowpiercer’, ‘Okja’ has a mix of American and Korean actors, effectively giving Bong the opportunity to work with recognizable stars to American audiences and introducing lesser known actors from his native country. It is a sign of how Bong never submits completely to a star studded life as a Hollywood director. His roots still are in his home country and while other international directors may go on to be big Hollywood players, Bong will not be one of them.
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It was clear that Bong Joon-ho was a director who brought talent wherever he went and it was soon that he would take the world by storm and bring attention not just to films of his own country, but to decades of foreign language films. This leads nicely to his next film which has gone down as the biggest success story for any international film. Bong returned to his home country to direct ‘Parasite’ (2019) which likely needs little introduction. Following a poor class family scamming their way into an out of touch wealthier family, the film remains a masterclass in storytelling, all aspects of filmmaking, and being accessible to a mass audience. It remains the culmination of everything in Bong’s career as it contains a black comedy feel in the first half and soon turns into an emotionally resonant portrait of division in class.
After decades of great foreign language films from all countries, ‘Parasite’ became the first film not in English to win the prestigious Best Picture Award at the Academy Awards, also sweeping up awards for Director and Original Screenplay for Bong, the Cannes Palme d’or and many other awards across all festivals. It also was a financially viable, becoming the highest grossing South Korean film and one of the best successes for a foreign language film, all due to positive word of mouth. Most importantly, ‘Parasite’ became the introduction of South Korean cinema for many Americans, opening a whole new world of great films. In the words of Bong Joon-ho himself, “Once you overcome the one inch barrier of subtitles, you will be introduced to so many more amazing films.”
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Future and Legacy with International Attention
With Bong solidified as a revered director, his next project is an adaption of a science fiction novel titled ‘Mickey 17’ with a cast including Robert Pattinson, Toni Collette, and Steven Yeun. It has the highest budget of any of his films at $150 million and will be released in theaters March 7th, 2025. In addition, Bong plans to later make an animated film about deep sea creatures, although the details are not yet realized. Whatever is next for him, Bong Joon-ho already has a career more accomplished than most directors. None of his films have been met with overwhelming negativity and in fact, his films made in South Korea have received greater praise than his American productions. His talent with making his films engaging and compelling for an international audience as well as weaving together different tones and subject matters all with a singular stylistic voice is undeniable. Through all of it, he has been able to maintain his cinematic voice and never submit to pressures regarding greater success or more commercial material. A true modern inspiration for aspiring directors everywhere.
By Elijah van der Fluit
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Elijah van der Fluit is a writer for The Hollywood Insider based in California with aspirations to write and direct films for a professional career. In his spare time, Elijah enjoys watching and discussing movies of all genres as well as reading, hiking, spending time with family, and being one with the world. Elijah believes that art, whatever form it may take, has the ability to inspire and broaden people’s perspectives in a positive way and he hopes to use his work in film and writing to do so.
Elijah van der Fluit is a writer for The Hollywood Insider based in California with aspirations to write and direct films for a professional career. In his spare time, Elijah enjoys watching and discussing movies of all genres as well as reading, hiking, spending time with family, and being one with the world. Elijah believes that art, whatever form it may take, has the ability to inspire and broaden people’s perspectives in a positive way and he hopes to use his work in film and writing to do so.
