The Present and Future of Korean Queer Cinema seen through Love in the Big City (2024)

※ The contributions of external writers may differ from the opinions of KoBiz & KOFIC, and they do not represent the official views of KOFIC. 

In Korea, revealing homosexuality is still difficult, thus making it a sensitive matter. Beyond the lack of debate about homosexuality in Korea, Korean society treated homosexuality as criminal behavior in terms of Juvenile protection. Based on the law for juvenile protection, homosexuality was regarded as abnormal behavior. However, homosexuality is still considered criminal behavior in the military and prison as an institutionalized and legalized space. Despite much educational information via the internet or media content against prejudice and misunderstanding about homosexuality, Korean society still seems to worry about discussing issues of homosexuality.

It is not surprising that Love in the Big City (2024), dealing with gays' love and life in Seoul, has been at the center of controversial issues surrounding queer matters in Korean society. It is a common happening when films to portray queer representation are released in Korea. However, it is pretty disappointing because this controversy about queer films released in Korea has remained in hate, misunderstanding, and prejudice.

When Happy Together (1997) was introduced to the Korean market, the Korean Performance Ethics Board (KPEB) did not allow it to be imported because of its subject of homosexuality. They explained that it would negatively affect public sentiment and perception of Korea. It could be released a year later after cutting the opening scene with homosexual behavior, obtaining a proper rating from KPEB. Likewise, the Korean queer film Stateless Things (2011) was permitted release after cutting the scene showing male genitals. The Media Rating Board awarded it an R-rating due to the obscenity in sexual expression.

Love in the Big City (2024), directed by E.oni. 

 Many Asian queer films are likely to receive an R-rating due to ambiguous standards in judging what constitutes an obscenity. It implies that Asian queer films must pass strict ethical standards. Therefore this could cause that queer filmmaking in Korea is probably forced to self-censor. However, queer films made in Western countries such as USA or EU relatively tend to be easy to be released, unlike Asian queer films. Why does this trend continue to occur? It would probably be related to the races within the cultural background because the queer representation with different skin color from Koreans in non-Asian queer films may be perceived as not representing Korean or Asian queers, or as mere fiction or fantasy.

The trailer for Love in the Big City looks so heterosexual film that anyone can't even tell if it's a queer film. Rather, it seems there is an effort to avoid the frame that it is a queer film genre. Perhaps the filmmakers and publicists felt considerable pressure about being labeled a queer genre film since the original novel deals with the life and love of queer characters. Although the trailer could be controversial about not revealing queer representation, it is meaningful that actors and actresses who are well-known in the mainstream Korean entertainment industry starred in Love in the Big City and that it was released in the Korean mainstream film market. However, even if the film is successfully produced, if it does not meet the audience, no matter how meaningful the film is, the message and enjoyment it is trying to convey could not be completed without the audience watching.

Stateless Things (2011), directed by Kim Kyung-mook.

Industry implies the concept of the market and the flow of capital. When it comes to filmmaking, capital is invested, content is produced with that capital, and the film produced must be released to make a profit. The limitation of Korean queer cinema is that it faces difficulties in securing capital. This is because, unlike other genre films, queer filmmaking in South Korea is relatively challenging to receive investment. Furthermore, even if it is produced, meeting the audience in the mainstream cinema chain isn't easy due to homophobic protests and ignorance towards queer films. Even if some audiences were interested in watching queer films in cinema, courage would be required beyond the fear others could examine their sexual orientation.

As the issues surrounding Love in the Big City show, the production of healthy discourse through queer films seems to be impossible in the Korean mainstream film industry because there is no understanding or analysis of queer films themselves, and only politically sensitive gender issues surrounding them remain. This is still the challenging reality of Korean queer cinema. However, many filmmakers in Korea are still interested in queer matters and have attempted to introduce new queer films in the Korean film industry. Although there are hardships for queer filmmaking and screening queer films in Korea, Korean queer cinema is moving forward and ready to meet audiences. Beyond hatred and homophobes' sabotage, it is time to discuss the future of Korean queer cinema.

To look into the present and to picture the future of Korean queer cinema, short interviews were conducted with two Asian queer film specialists in the UK: Christopher Brown, a film director and lecturer in filmmaking at the University of Sussex; and Wang Yi, the founder, director and programmer of Queer East(QE), a UK-based festival dedicated to showcasing LGBTQ+ cinema and moving arts.

Queer East, a UK-based festival showcasing LGBTQ+ cinema and moving arts.

The feature of Korean queer cinema

Christopher Brown sees that Korean queer cinema has carved out a distinct identity, often exploring the complicated dynamics of family and the tension between rural and urban life. Brown highlights how many recent Korean queer films focus on LGBTQ+ characters returning to their hometowns to confront unresolved familial conflicts. These narratives frequently touch on themes of acceptance and reconciliation while showcasing the importance of chosen families—communities that provide support where traditional structures may fail.

According to Wang Yi, the recent growing popularity of 'Boys' Love' dramas indicates Korea's ability to create commercially feasible queer content that attracts and appeals to global audiences. Yi thinks this success is appreciated partly due to the scale of the Korean entertainment industry, which advantages significant marketing power and international interest driven by the Korean Wave. However, beyond this global boom of the Boy's Love genre drama, Yi points out that Korean queer cinema is not limited to mainstream productions. In particular, Yi sees that Korean queer cinema attempted to embrace the growing diversity in storytelling, reflecting a broader cultural shift from indie films to experimental works.

Beyond Boundaries: Shaping the Future of Korean Queer Cinema

Both Brown and Yi agree that the next step for Korean queer cinema is to expand its horizons. Brown reveals his desire to see more genre films such as thrillers, sci-fi, and horror, integrating queer characters seamlessly into their narratives. On the other hand, Yi says that Korean queer cinema needs a more fluid and boundary-pushing approach. As public awareness and acceptance of the LGBTQ+ community grows, Yi expects that filmmakers are increasingly willing to explore underrepresented stories within the queer spectrum. In particular, Yi highlights the diverse cultural landscapes of East and Southeast Asia and advocates for a richer portrayal of queer experiences beyond typical narratives of suffering and oppression. While acknowledging these challenges, Yi also emphasizes that joy, love, and celebration are equally essential to queer lives.

While curating QE, Yi prioritizes films that challenge stereotypes and underscore authentic and vibrant stories. QE's focus is on amplifying marginalized voices, such as the bisexual and asexual communities, and showcasing films from overlooked regions like Myanmar, Cambodia, and Mongolia. Yi aims to introduce a multi-dimensional view of the queer Asian experience, balancing retrospective works with new perspectives. Yi said QE's mission is to foster conversations and address critical issues within the LGBTQ+ Asian community, ensuring culturally relevant and socially aware programming.

Likewise, both agree that there must be a need for a supportive industry environment. By investing in diverse voices and supporting emerging talent, Korea's film industry can continue to lead the way in creating bold, authentic queer narratives that resonate both locally and globally.

In the end, the long-run mission for Korean queer cinema is to find out how to embrace authentic storytelling and foster open dialogue. When it becomes possible, Korean queer cinema can transform not only the film landscape but also the broader societal perspective on LGBTQ+ communities. Now is the time to push boundaries, expand horizons, and create a future where queer stories thrive in both mainstream and independent spaces to lead the global queer cinema.

About the writer 

Dr. Jaewook Ryu is a UK-based film researcher specializing in the field of Korean cinema. After attaining an MBA at the University of Illinois at Chicago, he acquired a PhD in Film Studies at Lancaster University in the UK, with his doctoral thesis 'The Politics of Queer Cinema: Investigating Queer Films in Politics, Economy and Queer' holistically analyzing the recent landscape of Korean queer cinema. He is currently an associate lecturer in Korean subjects at University of Central Lancashire, exploring Korean cinema with a filmmaking project.