6 essential directors from the golden age of South Korean cinema

The golden age of Korean cinema, spanning the 1950s and 1960s, marked a period of unprecedented artistic and commercial growth in the nation’s film industry. After the Korean war (1950 to 1953), filmmakers began crafting stories that captured the complexities of a nation in recovery. Directors from this era sought to push creative boundaries, garnering both domestic and international recognition. 

This flourishing period saw the rise of film studios and increased production, aided by government support for the arts, although censorship concerns loomed large and would get worse in the late 1960s. Notable directors such as Im Kwon-taek began their careers during this transformative time, and a wide range of films were made. Han Hyung-mo’s Madame Freedom (1956) explored themes of female liberation, while Lee Kang-cheon’s Piagol (1955) delved into the ideological conflicts of post-war Korea. Films like Lee Byeong-il’s The Love Marriage (1958), and light-hearted comedies such as My Sister Is a Hussy (1961, Han Hyung-mo), showcased the era’s ability to blend humour with family dynamics, dealing with sibling rivalry and romantic misunderstandings. Kang Dae-jin’s The Coachman (1961) gained international acclaim, winning the Silver Bear Jury Prize at the 1961 Berlin International Film Festival. 

Sadly, by the late 1960s and into the 1970s, the Korean film industry began to face decline due to stricter censorship, political instability and growing competition from television. Despite its relatively short span, the golden age left a lasting impact, laying the foundation for the resurgence of Korean cinema in the late 20th and early 21st centuries.

The filmmakers below are an ideal place to start in your exploration of this rich but potentially unfamiliar period.

For many cinephiles, Kim Ki-young has become a household name. One of the most innovative and idiosyncratic directors of South Korea’s golden age, his work, which influenced films such as Bong Joon Ho’s Parasite (2019), has been rediscovered by new audiences. 

Kim is often described as a cinematic surrealist, and his films blend melodrama, horror and sharp social critique, exploring daring themes with psychological depth. His most renowned film, The Housemaid (1960), examines the breakdown of a middle-class family through the presence of a seductive, destructive housemaid. Its revolutionary exploration of desire, class tension and madness remains critically acclaimed. Kim would develop the original film into the Housemaid trilogy, which includes Woman of Fire (1971) and Woman of Fire ‘82 (1982), both films amplifying the original’s erotic and psychological tension. 

His films were popular with both critics and audiences alike, with his 1972 hit Insect Woman being the first film to sell over 100,000 tickets in Seoul. Over the 30 years of his career, Kim Ki-young produced and directed 32 feature films. Notable films to check out include The Sea Knows (1961), Goryeojang (1963) and Iodo (1977). While the 1980s saw Kim fall from favour, his work has experienced an incredible resurgence in the last couple of decades, and though often controversial for his bold portrayals of women and taboo subjects, Kim’s visionary style is impossible to ignore.


Shin Sang-ok and Choi Eun-hee were a dynamic force in South Korea’s golden age of cinema, shaping the industry as both director-producer and actor-director. Married for over 30 years, from 1953 until their divorce in 1984, their relationship was both personal and professional. Shin was one of the most prolific filmmakers of the era, directing over 70 films that spanned a wide range of genres, from melodrama to historical epics. 

Notable films such as A Flower in Hell (1958), My Mother and Her Guest (1961), The Red Muffler (1964), Seong Chunhyang (1961) and Prince Yeonsan (1961) showcased his versatility in genres such as melodrama, romance and historical epics. Choi Eun-hee was South Korea’s leading actress in the 1950s and 1960s, celebrated for her emotional depth and versatility in her roles. She and Shin made over 80 films together, and her presence contributed to the success of many of his films. 

In 1978, the couple’s careers took a shocking turn when they were abducted by North Korean agents under Kim Jong-il’s orders to revitalise the North Korean film industry. Forced to make several films, including the monster movie Pulgasari (1985), they eventually escaped in 1986 during a trip to Vienna. While their real-life dramas are almost more fascinating than their film works, Shin and Choi are undoubtedly icons of the Korean film industry.

Yu Hyun-mok is a venerated figure in Korean cinema. With a background in literature, Yu brought intellectual depth to his films, tackling diverse issues of poverty, class struggle and the devastating effects of the Korean war on ordinary citizens. His 1961 film Aimless Bullet is widely regarded as one of the greatest films in Korean cinema. The film’s raw depiction of post-war psychological and economic despair, and its critique of societal collapse, struck a chord with audiences and critics alike.

Yu’s style was heavily influenced by European cinema, particularly Italian neorealism, which can be seen in his restrained direction and focus on the everyday struggles of ordinary people. Films to seek out include The Daughters of Kim’s Pharmacy (1963), a family melodrama that explores generational conflict in a rapidly modernising society, and An Empty Dream (1965), an experimental work that delves into existential despair. 

Yu was highly involved in the film community, founding the Korea Amateur Filmmakers Association in 1970 and holding several leadership roles, including chairman of the Korean Directors’ Association, director of the Korean Film Archive, and vice president of the Motion Pictures Association of Korea. Yu’s contribution to Korean cinema was remarkable, and his ability to blend artistic innovation with strong social critique influenced not only his contemporaries but also future generations of filmmakers.

Lee Man-hee’s 1962 film Call 112 brought him significant commercial success, solidifying his place in the industry. Following this achievement, Lee began to transform Korea’s genre film landscape, particularly with his revolutionary works in horror and film noir. In 1964, he directed The Devil’s Stairway, a psychological horror that demonstrated his talent for building tension and unease, establishing him as a master of suspense. That same year, he also directed Black Hair, a film noir that pushed the boundaries of the genre with its gritty, stylish portrayal of crime and morality, further cementing his reputation as a director with a unique and versatile vision. 

He is probably most well-known for The Marines Who Never Returned (1963). With its raw realism and character-driven narrative, this landmark film offered a harrowing and emotionally complex portrayal of soldiers during the Korean War.

For a stylish vision of post-war Korean nihilism, A Day Off (1968) is another worthwhile watch. Banned on release, it opened to the public in 2005, 37 years later, after the original print was rediscovered. The film follows a desolate antihero as he seeks money to procure his girlfriend’s abortion. Lee’s innovative storytelling, technical skill and genre mastery helped push the boundaries of Korean cinema during the golden age, leaving a lasting influence on the industry. Despite his untimely death at 43, Lee’s body of work continues to be celebrated.

With over 100 films to his credit, Kim Soo-yong was one of the most prolific directors of his era. His career spanned several decades, and his works covered a wide range of genres, including melodramas, war dramas, literary adaptations and historical epics. He made several highly popular commercial films, such as Bloodline (1963) and Sorrow Even Up in Heaven (1965). 

Kim is particularly noted for his adaptations of classic Korean literature, often exploring tensions between tradition and modernity, class disparity, and the struggles faced by women in Korean society. Notable films worth tracking down include Mist (1967), which delves into themes of personal guilt and existentialism, and The Seaside Village (1965), which portrays the struggles of a coastal community. Kim’s innovative narrative style and complex characters have earned him lasting recognition both domestically and internationally.

Echoes in Time: Korean Films of the Golden Age and New Cinema runs at BFI Southbank from October to December 2024.