The 20 Best Korean Movies of 2020

10. Jesters: The Game Changers (Kim Joo-ho)

It is not just the ruses that Deok-ho sets up that are interesting here. While many stories have been told of the piousness of the Joseon court, few rarely tell of the more sinister ongoing within those fortified walls and in-spite of being on a lighter tone narratively for the most part, “Jesters: The Game Changers” changes things up by telling its more sinister undertakings. Just like not all the public sees of the teams' ploys is real, not many of the motives of the King or Ministers' actions are quite what they seem superficially. The script's incorporation of events from the Journals that are confounding is quite clever. Its play on the fact that people's religious beliefs and superstitions are based purely on word-of-mouth and a blind belief on one's eyes rather than logical thinking is also quite relevant today, showing how easy it is for people's beliefs to be swayed and for so-called “godmen” and cults to thrive. (Rhythm Zaveri)

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9. FIGHTER (Jero Yun)

Jero Yun uses his extensive experience with North Korean refugees into his script to give a well-informed character study of one such individual and her struggles not only in adapting to the new world around her but also to live a fulfilling, dignified life for herself and her father. The title “FIGHTER” really tells best of her struggles, with Ji-na proving to be a fighter in more ways than one. In addition to being a fighter in the ring, she fights a prejudiced vision of the South Korean people towards those from the North every day, to be accepted and seen as an equal. Of course there are several cultural clashes that Yun portrays well- seeing a fully tattooed arm, women in gym outfits or even a man casually asking to walk her home- but Ji-na fights through those to try to adapt and live a normal life. (Rhythm Zaveri)

8. Baseball Girl (Choi Yoon-tae)

Choi Yoon-tae has managed to make a very positive and socially relevant feature for his debut which takes the tropes familiar to the sports drama genre and weaves a story that is fully engrossing, keeping the audience rooting for Soo-in all through her journey. His is a name you'll want to keep an eye out for in the future, as is that of Lee Joo-young's. The feature's message that it is never too late, or impossible, to follow your dreams and goals couldn't be any clearer. Don't wait around or have reservations; take up that sport, that musical instrument, that paintbrush or whatever it is that your heart has always desired and give in to it. (Rhythm Zaveri)

7. Kim Ji-young, Born 1982 (Kim Do-young)

“Kim Ji-young, Born 1982” is one of those films whose importance is much more significant than any kind of cinematic quality. Starting with Cho Nam-joo's homonymous novel the script is based on, which became a best seller, but also the target of much controversy, particularly for the pointy sincerity with which it addresses the status of women in Korean society, which, despite some improvements here and there, remains largely male-dominated. Both commercial success and the outcry from anti-feminist groups resurfaced after the release of the movie, which eventually became one of the most successful titles of the year in Korea and internationally, following the path of the book. (Panos Kotzathanasis)

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6. Beauty Water (Cho Kyung-hun)

In conclusion, “Beauty Water” is an intriguing entry into the body-horror sub-genre. Based on an interesting premise, the director explores the relationship of beauty and self, making a provocative statement of a trend, which is not restricted to his home country but whose repercussions can be felt all around the world. (Rouven Lin)

5. The Woman Who Ran (Hong Sang-soo)

It's in many ways a classical Hong Sang-soo movie built around people immersed in conversations, enjoying drinks, food and beautiful landscapes. So there is plenty of chatter in “The Woman Who Ran” but no traditional soju-drinking, although two people won't be sober for a long time after downing a bottle of makgeolli. But the true novelty is that Hong Sang-soo has made a very female movie, his first of the kind, and it is a surprisingly effortless work that could have easily gone wrong considering his minimalist approach to film-making. (Marina D. Richter)

4. Vertigo (Jeon Gye-soo)

“Vertigo” primary is a tremendous exposé of the corporate culture in modern South Korea, particularly the position of women in it. Its depiction of the corporate workplace environment and the fears and pressures the staff feel because of it, trying to keep up a prim and proper physical appearance and picking up skills they otherwise have no interest in lest they lose their job to somebody who does, is very realistic. So realistic, in fact, that its extremely depressive and pessimistic nature makes one feel for those having to survive in it on a day-to-day basis in real life. Equally realistic is the depiction of the effects of vertigo on those that suffer from it, with Seo-yeong's dizzy spells being triggered by the slightest vibrations, shrill sounds or heights. (Rhythm Zaveri)

3. Lucky Chan-sil (Kim Cho-hee)

This charming indie movie is, first of all, a love letter to cinema and a soothing overview of life's critical moments. The story feels like something very close to the director's heart and it probably is. In fact, Kim Cho-hee worked as Hong Sang-soo's producer, between 2008 and 2015 and it doesn't take much to spot the reference. Hong Sang-soo apart, the whole film is punctuated with gems for cinephiles, starting from the opening credits on canvas, in typical Ozu's fashion, to many other cheeky hints to international and cult directors that the audience will have the pleasure to spot. (Adriana Rosati)

2. Beasts Clawing at Straws (Kim Yong-hoon)

Adapted from a Japanese novel by Keisuke Sone, the film is, in its simplest form, about a very recognizable Louis Vuitton bag of money. Several people are after it throughout the movie, some for more sinister reasons than others. The film starts off broad, separated, and every character having their own set-up, storyline, and motivations. You'd say this could become boring, but it sets the film up nicely without losing the plot, and the humor throughout really helps set the pace for what is quite a serious movie later on. (Reinier Brands)

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1. The Man Standing Next (Woo Min-ho)

“The Man Standing Next” is a terrific film, a fine return to form for director Woo Min-ho after the stink-bomb that was “The Drug King”. It features two superstar actors bringing their A-game to a production that has a very engrossing script accompanied by strong technical merits. The film is a triumph both as an entertaining political thriller and a history lesson and is an early entry into my personal year-end “Best of” lists. Be sure to check this out. (Rhythm Zaveri)

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