Netflix‘s bold technique for Korean content material took middle stage on the streamer’s ongoing APAC showcase in Tokyo, the place executives and filmmakers supplied an in-depth take a look at their upcoming slate, with particular emphasis on “Misplaced in Starlight,” the platform’s first Korean animated function.
The animation milestone, arriving in Q2, represents a big step in Netflix’s increasing Korean content material universe, which continues to construct on the worldwide success of hits like “Revelations,” directed by Yeon Sang-ho, which topped Netflix’s Non-English movie chart for 2 weeks throughout 65 nations.
Vincent Taewon Kim, director of content material for Netflix Korea, spoke in regards to the firm’s strategic give attention to “diversifying the style, in addition to enhancing the standard and leisure worth” for its seven-film 2025 slate, which spans animation, romance, thriller, sci-fi and motion genres.
Director Han Ji-won, becoming a member of just about from Seoul, detailed the painstaking five-year journey behind “Misplaced in Starlight,” which tells the story of “an emotionally scarred astronaut, chosen for a Mars probe, [who] falls for a disheartened musician grappling with stage fright.” The movie options voice performances from Kim Tae-ri and Hong Kyung.
“I’ve all the time liked animation movies that handled outer area and love,” Han defined, noting how the challenge started as a brief movie earlier than evolving right into a function with manufacturing firm Climax Studio. “The subject material of dream and likewise romance and love, I notice that this stuff are all very intently related collectively.”
In crafting Seoul circa 2050, Han described her method to world-building that balances futurism with nostalgia. “We attempt to create a future model of these parts just like the movie ‘Her,’ the issues which might be vital to our story,” she mentioned. Han intentionally juxtaposed high-tech parts like holograms towards retro settings like Euljiro, a neighborhood recognized for its nostalgic environment.
Han expressed optimism about Korean animation’s world potential: “Korea has obtained this pool of expertise… We’ve got a number of creators who’re actually good at storytelling. I feel Korea is a rustic that has the whole lot to make nice animation work.”
The showcase additionally featured administrators Kim Tae-joon and Namkoong Solar discussing their Q3 releases. Kim’s “Wall to Wall” (also referred to as “84 Sq. Meters”) explores housing anxieties central to modern Korean society via the story of Woo-sung, whose dream residence turns into a nightmare as a result of mysterious noises.
“Over 80% of Korean residences are in residences. And 84 sq. meters is definitely the most typical dimension,” Kim defined. “Residence complexes will not be only a place the place folks reside, but it surely’s actually a spot the place totally different pursuits and needs of individuals come into battle and confrontation.”
Kim, whose earlier Netflix thriller “Unlocked” reached the highest 10 in 46 nations, drew from private expertise with noise complaints for his idea. The movie stars Kang Ha-neul, Yeom Hye-ran, and Search engine optimisation Hyun-woo.
In the meantime, Namkoong’s “Love Untangled” gives a refreshing change of tempo with its 1998 Busan-set youth romance that includes “essentially the most sought-after younger actors in Korea proper now,” together with Gong Myoung and Shin Eun-soo. The story follows a curly-haired excessive schooler decided to admit her emotions to her crush.
“Korean teenagers most likely have their very own dilemmas,” Namkoong mirrored. “The world is altering so shortly and I feel the teenagers are having a really exhausting time navigating their future. We want extra pleasure, we’d like extra love, we’d like extra happiness.”
Vincent Kim additionally teased three further movies closing out 2025: “Mantis,” a by-product from the hit “Kill Boksoon”; “Good Information,” a Nineteen Seventies-set hijacking drama; and “Nice Flood,” a “sci-fi catastrophe blockbuster movie.”
The showcase culminated with a first-ever world screening of “Misplaced in Starlight” for Tokyo attendees, signaling Netflix’s confidence in its increasing Korean style portfolio.
