In his early days, he directed a few films with leading female characters. He debuted with Mist Whispers Like Women in 1982. He is one of the most controversial directors in the Korean film industry. He hasn’t made any films since the failure of the 2002 film “Resurrection of the Little Match Girl,” which took on a massive budget. The films he made in the 1990s were always at the center of controversy both inside and outside the Korean film industry. Also, affected by the Buddhist view of the world, he often showed a futile perspective. Beyond The Age of Success, which allegorically criticized the success story of the age of capitalism, he captured the everyday lives of the people or double lives of intellectuals rather than directly criticizing reality. He then directed The Age of Success (1988), A Short Love Affair (1990), The Road to Race Track (1992), The Avatamska Sutra (1993), To You from Me (1994), A Petal (1996), Timeless, Bottomless (1998), and Lies (1999). Afterwards, he worked as a film critic and aesthetic activist, and in 1986, he debuted as a director by co-directing Seoul Emperor. He was arrested in the mid-1970s for protesting against the dictatorship, drafted into the army and imprisoned. The June Democracy Movement and resistance against direct distribution by Hollywood introduced the Korean intellectual world and the art world’s progressive and nationalistic view, which later became an important background in understanding the emergence of the Korean New Wave.
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The people of the Korean film industry who resisted direct distribution by Hollywood were joined by the anti-American movement of the Korean intellectual society following the June Democracy Movement in ‘87 and grew powerful. They resisted the showing of Fatal Attraction and demanded the blockage of direct distribution and revision in the Motion Pictures Act.
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Rigorous censorship and absurd film policies nearly destroyed the foundation of the film industry during the military dictatorship, so the people in the Korean film industry felt threatened by American film companies’ free access to the industry. In September 1988, an American distributor UIP released Fatal Attraction (Adrian Lyne, 1987), Korea’s first directly distributed film. This action meant film companies in Hollywood could distribute films directly in Korea and earn profit, unlike before when only Korean film companies imported and distributed films. The 6th revision in the Motion Pictures Act in 1986 liberalizing foreign film imports made it possible for foreign companies to conduct the film business in Korea.