Hellbound Season 2 inherits the bleak yet hopeful worldview and the provocative questions of its predecessor, pushing an increasingly complex situation into an even more chaotic direction. As the extremist group, Hwasalchok, expands its influence with inflammatory rhetoric, the government, unwilling to allow the situation to spiral out of control, seeks to establish a new order by exploiting the Saejinrihwe. Meanwhile, the resurrection of Jung Jinsu triggers a clash between the three factions: Saejinrihwe, Hwasalchok, and Sodo, each pursuing their own agendas. While Season 1 focused on the ‘reactions’ of humans grappling with an incomprehensible phenomenon, Season 2 zeroes in on the hell in and of itself created by the collision of collective interests and desires. Director Yeon Sang-ho’s signature dystopian atmosphere and probing questions about humanity have further been intensified. Actor Kim Sung-cheol, who takes over the role of Jung Jinsu, effectively fills the challenging gap, bringing a convincing performance to the series. (SONG Kyung-won)

Shige, an indigenous Ainu person from Shiranuka, Hokkaido, goes Marek fishing with his 10-year-old son Motoki. After praying to the gods dwelling in all things, he skillfully catches a large salmon, which he then prepares for that evening’s meal. The daily life of Shige’s family unfolds like a meticulously crafted narrative film. Rather than highlighting the struggles of the Ainu, who have long lost their territory and now their language, and have faced discrimination, Ainu Puri focuses on the strength and beauty of Shige and Motoki’s life together. Director Fukunaga Takeshi avoids exoticizing or othering the Ainu people and instead captures their journey with a natural, fluid narrative that leads to a certain conclusion. The film’s intelligent and thoughtful gaze creates intriguing shots that evoke a cinematic sense in this modern ethnographic study. (KANG Sowon)

Dea Kulumbegashvili is a star of Georgian cinema and a director who makes desperately needed women’s films in the current era. Her debut film, Beginning (2020), features a woman who suffers physical harm, and the director demonstrates in April that this issue is not confined to the psychological trauma of one woman. Both films expose the existential threat that violent sexual relations pose to women. Nina, who is on the verge of losing her job due to a medical accident in the cruel month of April, has a secret. She cannot turn away from women suffering from unwanted pregnancies, and she takes on their burden herself. These women have no rights over their own bodies. The 4:3 aspect ratio reflects the reality of characters trapped by social, religious, and cultural constraints, while the unwavering, static camera supports the intense resolve of both the characters and the director. April, a cruel story of silence crossing through “the Three Goddesses governing childbirth, pretty flowers, and country roads,” is a deeply piercing record of bodies that have been trampled upon. (LEE Yong Cheol)

The insufferable yet endearing prosecutor Dongjae is back. Dongjae, The Good or The Bastard, a spin-off series of Stranger, follows the struggles of Seo Dongjae (Lee Jun-hyuk), a prosecutor burdened by the stigma of being labeled as a ‘sponsor prosecutor.’ Despite consistently being overlooked for promotions and denied opportunities to handle major cases, Dongjae finds a chance for a breakthrough. However, with every opportunity comes risk, and during his investigation, he encounters Nam Wanseong (Park Sung-woong) from the corrupt Ihong Construction. Confronted with Nam’s past wrongdoings, Dongjae must navigate the dangerous tightrope between his instincts as a prosecutor and his opportunistic nature. The show brings out the full charm of the character Seo Dongjae as a petty and tenacious realist, and the actors’ clever performances add delightful nuance to the story. (SONG Kyung-won)

A Garden in Winter is about Alexandra, who owns a garden where someone builds a shed to spend the night. At first, she’s bothered, but then she starts helping with the shed for someone she never met but appreciates. (PARK Sungho)

Claire (Catherine Deneuve), a world-renowned chanson singer, falls into grief after losing her beloved pet dog. Believing in staying true to her profession during tough times, she travels to Tokyo for a concert. There, Yuzo (Sakai Masaaki), who has never met her in person but has been her ardent fan for a lifetime, is waiting. He was once a member of a popular band but now lives a lonely life with a terminal illness after his divorce. A few days before the long-awaited concert, he passes away while listening to Claire’s vinyl at home. His son (Takenouchi Yutaka) visits Yuzo’s house for the funeral and to sort out his belongings, then attends Claire’s concert in his father’s place. The concert concludes successfully amidst much acclaim. However, Claire also suddenly passes away. Contrary to her belief that nothing existed after death, she finds herself lingering in this world as a soul, which greatly bewilders her. Fortunately, she soon encounters Yuzo’s soul, and despite the lingual barrier, they naturally understand and comfort each other. Claire seeks answers that perhaps no one else has, and Yuzo willingly offers to be her guide. Director Eric Khoo has occasionally revealed the existence of souls lingering in this world since his debut film Mee Pok Man (1995). Spirit World explores the interaction between souls and paradoxically appeals to the driving force of life in a worldview where life and death are not separated. After the cinematic experience, like fireworks coming to an end, alcohol and music should fill the gaps in our hearts. (PARK Sungho)

The Angel (2018) director Luis Ortega returns with another weirdly funny, cool, and sexy thriller where we follow a star jockey, his girlfriend and partner in crime, and a mobster on his tail. Remo’s talents cannot save him from his self-destructive behaviors, and after an unfortunate accident on the most important race of his career, he will walk out of his life to become free. Like a wild horse fleeing from a predator, the unique and surreal tale of Dolores (née Remo) the fugitive is deliciously weaved in a non-judgmental and unapologetic manner. With perfectly timed tongue-in-cheek humor, dreamlike mating dance sequences, and a grand finale where everything comes to full circle, Kill the Jockey declares that Luis Ortega is one of the most intriguing auteurs of contemporary Argentinean cinema. (Karen PARK)

In 1917 Yangon, British civil servant Edward flees just before his wedding to fiancée Molly. Determined to marry him, Molly crosses Asia in search of Edward. The title Grand Tour refers to the early 20th-century tradition of a journey across Asia, typically starting in India and ending in the Far East (either China or Japan). Director Miguel Gomes began his own “grand tour” for the film in 2019, shooting in Thailand, the Philippines, Vietnam, and Japan. However, the outbreak of COVID-19 and the subsequent closure of China’s borders forced Gomes and his crew to return to Portugal. Some parts of the film were later shot in studios in Rome and Lisbon. How, then, was it possible to obtain footage from China? Remarkably, Miguel Gomes remotely directed the Chinese scenes from Portugal, working late into the night due to the time difference. This is where the miracle of Grand Tour truly lies. By capturing the journey of the two lovers, Gomes creates a sweeping and immersive spectacle. The film juxtaposes captivating documentary images of modern Asia—showing harvests, religious festivals, and motorcycle parades—with an imagined Orient drawn from an adventure novel, where a protagonist crosses misty rivers and wanders through enchanting nighttime forests. Miguel Gomes comments on Grand Tour as follows: “There is a immense tour in this film that unites what is divided – countries, genders, epoques, the real and the imaginary, the world and cinema. It is this grand tour that I would like to invite the audience. And this is what cinema is for, I believe.” (SEO Seunghee)

Sunhi(Jung Yumi), a film graduate about to study in the United States, meets three men: Donghyun(Kim Sangjoong) a university professor; Jaehak(Jung Jaeyoung), a senior; and Munsoo(Lee Sun-kyun), her ex-boyfriend. The men all say that Sunhi is pretty and nice, and for oddly similar reasons. However, it’s hard to tell if they really know her, or if their words truly reveal who she is. Among them, Munsoo is the most transparent and honest about his feelings for Sunhi. Lee Sun-kyun carries the film through a long take that stretches well over 10 minutes, fiercely delving into the moods of Sunhi and Munsoo, and even the influence of liquor. “If I don’t do anything, I won’t know what’s really good! I have to dig all the way... I have to dig all the way to get there. I have to dig all the way and go to find out about myself.” Even while swaying, he is powerful. Unable to fully express himself with drunken words, Munsoo uses gestures and movements to convey his true feelings. In that moment, his presence and mark are firmly imprinted in the film. (JEONG Jihye)

Kai, a 27-year-old who recently got a job at an advertising company, dyes his hair blue and sets out to start anew. But following him, as they have since the day he was born, are aliens carrying cameras and lights. Just as they begin to complain about the monotony of Kai’s life, a woman named Xiaole, who shares her home with Kai, appears. Will the aliens get what they want and see Kai find happiness with Xiaole? Land of Broken Hearts, the second feature film by Wen Shipei, who was invited to Cannes with his debut film Are You Lonesome Tonight? (2021), offers small comfort to those questioning a life dictated by a script and dreaming of their own ‘Buenos Aires’. The film suggests that when life gets too hard, you should take off your shoes and feel the energy of the land that comforts broken hearts. (CHOI Eun)

My Mister, the 16-episode drama series, is undoubtedly one of actor Lee Sun-kyun’s signature works. Among the many elements that made this drama shine, Lee Sun-kyun was perhaps the most crucial. In My Mister, there are numerous memorable scenes featuring his performance. Among them, many remember Park Dong-hun (Lee Sun-kyun) walking home late at night through the alleyways with Lee Ji-an (Lee Ji-eun), his brothers and friends, and his gentle yet weary steps. The warmth of Park Dong-hun, embodied by Lee Sun-kyun, is conveyed touchingly through words and actions in various episodes of My Mister. While the impressive dialogue and scenes are largely placed in the latter half of the series, surprisingly, it is the 5th episode that is entirely filled with Park Dong-hun’s emotional journey from start to finish. It’s like a standalone film centered on Park Dong-hun. You can watch that 5th episode on the big screen. (JUNG Hanseok)

In the winter following her college entrance exams, 19-year-old Yurim wanders the streets with her best friend Seonmi, who ran away from her broken home. Beginning with a documentary-like touch, their journey, filled with desperation and heartfelt emotions, takes them from a hospital to a jewelry store, and finally to their teacher’s house. The chilling tone of the retrospective voice-over at the end leaves a lasting impression. (KANG Sowon)