The 40 Best Korean Movies of the Decade (2011-2020)

10. Right Now, Wrong Then (Hong Sang-soo, 2015)

Hong Sang Soo directed a naturalistic film, a fact stressed by the magnificent performances of the two protagonists, Jung Jae Young as Chun Su and Kim Min Hee as Yoon Hee Jung. His usual cinematographic style, including long takes interrupted by sudden zooms is also evident here, as is his unique and unexpected sense of humor. His message is quite clear: the little choices we embrace everyday can alter the course of our whole life. (Panos Kotzathanasis)

9. Train to Busan (Yeon Sang-ho, 2016)

Acting in zombie movies is usually on a very low level, since the genre tends to focus on the action and the creatures, rather than the actual actors. However, Yeon Sang-ho used a different tactic, since the film also features much drama and the occasional comedy, which demands good acting, at least to some degree. In that fashion, Gong-yoo is quite good as Seok-woo, the detached executive that has been ignoring his family for years and now has to make up for it. The fact that he is not completely good, particularly when his and his daughter's survival are at stake, adds another interesting layer in his character, and he is very convincing in that aspect. Ma Dong-seok as Kim Soo-an holds the most entertaining role in the film, being great in the dramatic, comic, and action sequences, as his presence always seems to elevate the film. Kim Su-an as Seok-woo's kid daughter is also great, in a very mature role for a child that avoids the usual standards of similar roles that just demand cuteness. Kim Eui-sung as Yong-suk is impressive as the definite villain of the film, as he portrays a truly despicable human being that is actually even worse than the zombies. (Panos Kotzathanasis)

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8. Asura: The City of Madness (Kim Sung-su, 2016)

The power struggles between all the characters, along with the constant shifting of both loyalties and the upper hand, are the backbone of an intricate script, which is concluded, in the most spectacular fashion, in the final sequence of the film. Furthermore, Kim presents a clear message regarding corruption, which, according to him, touches every aspect of Korean society, including justice and politics. (Panos Kotzathanasis)

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7. Masquerade (Choo Chang-min, 2012)

A jester imitates a king for a few days and ends up being a better king than the real one in Choo Chang-min's sumptuous historical drama that features one of Lee Byung-hun's finest performances till date. Ryu Seung-ryong provides competent support, but the production design plays just as much apart in making “Masquerade” one of the best Korean films of the decade. (Rhythm Zaveri)

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6. Pieta (Kim Ki-duk, 2012)

Kim's most commercial work is, however, as onerous as the rest of his filmography, a fact stressed by the usage of digital camera that makes the violent scenes seem even more realistic, virtually documentary-like. The standard message residing in the majority of Kim's works also appears here: the world we live in is ugly and evil, and people are either monsters or victims.

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5. The Wailing (Na Hong-jin, 2016)

Na Hong-jin directs and pens an agonizing thriller, building the tension gradually as the story progresses, until the utterly shocking finale, which is, probably, the film's greatest sequence. He incorporates a plethora of horror-favorite elements and notions, including zombies, vampires, demons, and exorcists, although the only one majorly implemented is the latter, with the rest existing, for the most part, to create an atmosphere of supernatural horror. In that fashion, he avoids the reef of hyperbole, maintaining a very serious approach throughout the film, despite some minor moments of unexpected humor. The pace is neither fast nor slow, but has the most fitting speed for the story, which artfully escalates as the time passes, until the impressive ending with the continuous plot twists. Apart from that, there is much cursing, violence, and a number of truly grotesque bloodbaths an spectacles, in general, which supplement the general aesthetics of the film. (Panos Kotzathanasis)

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4. The Truth Beneath (Lee Kyoung-mi, 2016)

“The element that makes the film unique though, is its narrative, with Lee Kyoung-mi using a rather intricate approach to the story, which seems to follow the mentality of Yeon-hong, who manages to lose her mind while standing extremely focused to her purpose. This tactic gives a disorienting sense to the production, which benefits the story to the fullest, as the audience can actually feel and think exactly as Yeon-hong does, in a reality that borders on nightmare. In that fashion, Park Go-ji's editing is masterful, managing to retain this sense with continuous elaborate cuts, among the flashbacks that permeate the narrative. Ju Sung-lim's cinematography accompanies the above elements perfectly, with some impressive framing and coloring that highlight the sense Lee Kyoung-mi wanted to give to each scene… Lee Kyoung-mi managed to accomplish a very difficult task, to present a different take on the crime thriller genre, and in the process, to create a masterpiece of the genre.” (Panos Kotzathanasis)

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3. The Handmaiden (Park Chan-wook, 2016)

One of Park's biggest traits as a filmmaker is that he manages to combine elements of art-house, mainstream, and exploitation/cult in his movies, additionally succeeding in presenting his messages regarding society and humans through violence, eroticism, and extreme scripts. This trait of his finds its apogee in “The Handmaiden,” a true triumph of both style and substance. Park Chan-wook is one of the greatest filmmakers of our time and this film is a definite proof of the fact.(Panos Kotzathanasis)

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2. Burning (Lee Chang-dong, 2018)

Lee Chang-dong and co-scriptwriter Oh Jung-mi have blended two novels from different eras and countries, embedded them in a bona fide South Korean contest and succeeded in creating a beautiful, contemporary and at the same time universal metaphor of youth discomfort. (Adriana Rosati)

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1. Parasite (Bong Joon-ho, 2019)

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