[Zoom In] Chungmuro Sisters Era "The Change in the Korean Film Industry Is Just Beginning"

Photo by Yonhap News, Blue Dragon Film Awards

[Asia Economy Reporter Lee Isul] "There are hardly any scripts suitable for female actors."

Just a few years ago, female actors sitting at interview tables would say this in unison. They lamented that the incoming scripts only offered roles as pretty romance partners or mothers. This was because investments were seen as guaranteed only when centered around male actors who were box office guarantees.

Unfortunately, this complaint is not exactly in the past perfect tense, but the situation has changed somewhat. The era of the "unnies" (older sisters) has arrived in Chungmuro.

Looking at films produced from the 1990s to the early 2000s, stories mainly focused on male friendships or men struggling to achieve their dreams. Even in romance films, women were mostly objects of male voyeurism. They were consumed as beautiful and modest first loves or mothers with blind maternal love. The default was male.

In 2017, the "Me Too" movement broke out in Hollywood, USA. The New York Times published an investigative report revealing that Harvey Weinstein, a powerful producer behind films like "Pulp Fiction," "Emma," and "Shakespeare in Love," had paid settlements to sexual harassment accusers for decades, which sparked a global awakening among women.

The "Me Too" storm also affected Chungmuro. Women who had suffered sexual violence in the film industry but had remained silent began to come forward. The true faces of some men who had used their positions worldwide to dominate women were exposed.

Since then, women in Chungmuro have changed. They rolled up their sleeves and contributed to change by directly producing. Works that portrayed women with distorted or discriminatory perspectives were thoroughly shunned by actors. Among filmmakers, there was talk of studying while producing to cultivate gender sensitivity. This was a movement that had not existed before.

Actress Kim Hye-soo supported director Park Ji-wan’s debut with "The Day I Died," and Moon So-ri led the production of "Three Sisters." Both carried meaningful messages, but without these two actresses, the films might not have been released so readily. The films, completed through countless unseen efforts, brought news of awards at various ceremonies. The sincerity of the production teams was recognized.

The achievements of female actors also stood out. Kim Hee-ae received acclaim for portraying female narratives in "Herstory" and "Revolutionary Sisters," and Youn Yuh-jung won the Best Supporting Actress award at the Academy Awards (Oscars) for "Minari," marking a first. 2021 was a year marked by the remarkable advances of female actors including Ko Doo-shim, Kim Sun-young, and Kim Hye-sook.

Photo by Oeyunaegang, Little Big Pictures

In addition, the contributions of female filmmakers shone, such as Kang Hye-jung, CEO of production company Oyou Naegang, which presented films like "Mogadishu" and "Hostage," and Shim Jae-myung, CEO of Myung Films, which produced "Shining Moment" and "Tae-il." Many female filmmakers showed meaningful movements to change the world from behind the scenes.

A film industry insider said, "It is clear that the influence of women in the domestic film industry has grown as well-known female actors and production staff have empowered production," adding, "You cannot discuss Chungmuro without mentioning the advances of female filmmakers who have led change in recent years."

He continued, "In Hollywood, the 'Me Too' movement was a turning point that brought many practical changes to the global film industry, and Chungmuro is no different," but also noted, "The domestic film industry still has a long way to go."

He added, "There have been many meaningful female films with shining themes. On the other hand, some films claimed to be 'female films' or 'female narratives,' but when you open the lid, many were just 'imitations.' It is important to have a proper understanding of what is right and wrong first."

Another insider said, "Just as there is no term 'male film,' I hope the term 'female film' will disappear someday," but also noted, "Unfortunately, in Chungmuro, we still have to say and must say 'female film' for now."

He continued, "The female power in the film market has grown stronger, but it is hard to say that stories about women and men are made in equal proportions," adding, "I hope the day comes when works reflecting everyone's voices are produced evenly without bias."

This content was produced with the assistance of AI translation services.