{"id":469076,"date":"2026-05-27T06:18:38","date_gmt":"2026-05-27T06:18:38","guid":{"rendered":"https:\/\/www.newsbeep.com\/ie\/469076\/"},"modified":"2026-05-27T06:18:38","modified_gmt":"2026-05-27T06:18:38","slug":"south-koreas-movie-industry-is-embracing-ai-will-k-film-lose-its-magic","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ie\/469076\/","title":{"rendered":"South Korea\u2019s movie industry is embracing AI. Will K-film lose its magic?"},"content":{"rendered":"

Summary<\/p>\n

South Korea’s film industry is turning to artificial intelligence to cut production costs amid declining box office sales.
\n The government has earmarked millions of dollars of funding for productions using technologies including AI.
\n Some warn that AI could replace jobs and erode the human touch that made Korean cinema iconic.<\/p>\n

\n AI-generated summary was reviewed by a CNN editor.<\/p>\n

\n EDITOR\u2019S NOTE:\u00a0 K-Everything<\/a>: A CNN Original Series is hosted by Daniel Dae Kim and explores the global impact of South Korean culture. You can now watch the series on CNN International, CNN All Access<\/a> and HBO Max.\n<\/p>\n

\n Globally, Korean content is booming. K-film and television exports doubled between 2019 and 2024, and last year, the nation\u2019s audiovisual sector added $16.4 billion<\/a> to the economy, supporting 291,100 jobs.\n <\/p>\n

\n But beneath the surface, South Korea\u2019s film industry is facing enormous funding challenges. Domestic box office sales are 45% less than they were pre-pandemic, in part due to the rise of streaming. As a result, production companies are pulling back on funding: last year, just 20 films<\/a> were made with a budget over 3 billion won ($2.15 million), compared to 40 to 50 annually pre-pandemic, according to the Korean Film Council.\n <\/p>\n

\n \u201cKorean production costs have risen significantly in recent years,\u201d says Hyun-jung Baek, head of content innovation at CJ ENM, South Korea\u2019s largest entertainment and content production company. \u201cSo even though K-content is expanding globally, the profits coming from it aren\u2019t great.\u201d\n <\/p>\n

\n Many production companies, including CJ ENM, are turning to artificial intelligence (AI) to help them cut costs and accelerate timelines.\n <\/p>\n

\n Advocates say it could revive South Korea\u2019s competitiveness, while critics worry it will replace jobs and dilute the unique character of Korean cinema.\n <\/p>\n

\n STREAMING NOW \u2014 K-Everything: A CNN Original Series is hosted by Daniel Dae Kim and explores the global impact of South Korean culture. Stream the series on the CNN app in the US.<\/a>\n <\/p>\n

\n \u201cThere is a real spectrum of opinions on it,\u201d says Seoul-based film critic Darcy Paquet. While the technology can make human labor \u201cmore effective,\u201d it can also be used to \u201ccut corners, save costs and speed up the process without the quality,\u201d says Paquet.\n <\/p>\n

\n While South Korea has been embracing AI-generated content for several years \u2014 with fully AI-generated shorts like \u201cIt\u2019s Me, Moon-hee,\u201d and more recently with CJ ENM\u2019s webtoon series \u201cCat Biggie\u201d \u2014 the technology is now appearing in feature-length films in a major way.\n <\/p>\n

\"Still<\/p>\n

\"Still<\/p>\n

\n \u201cRun to the West,\u201d billed as South Korea\u2019s \u201cfirst AI feature film\u201d when it released in October, used extensive AI to render mythical creatures, fantastical backdrops, explosions and special effects sequences.\n <\/p>\n

\n Compared with traditional computer-generated imagery techniques, AI tools were 10 times faster and cut costs by half, says the film\u2019s AI director, Hansl Kwon, founder and CEO of Seoul-based AI film studio Freewillusion.\n <\/p>\n

\n The studio recently hired 60 new AI artists, quadrupling its talent pool and creating new career opportunities at the cutting edge of filmmaking, he says.\n <\/p>\n

\n Just last month, CJ ENM released its own AI-hybrid film, \u201cThe House,\u201d a 60-minute horror thriller produced in collaboration with Google Cloud Korea for just 500 million won (around $336,000).\n <\/p>\n

\"South<\/p>\n

\"South<\/p>\n

\"<strong>Stairs<\/p>\n

\"<aNamsan Seoul Tower: A romantic symbol of Seoul, this tower has seen countless K-drama confessions and breakups, including \u201cMy Love from the Star,\u201d \u201cBoys Over Flowers,\u201d and \u201cItaewon Class.\u201d For the best view, head to Euljiro 2-ga, just outside the metro station.” class=”image__dam-img image__dam-img–loading” onload=’this.classList.remove(‘image__dam-img–loading’)’ onerror=”imageLoadError(this)” height=”2000″ width=”3000″ loading=’lazy’\/><\/p>\n

\"<aHan River Parks: The Han River is practically a supporting character in many K-dramas, including popular series \u201cStart-Up,\u201d and \u201cWhile You Were Sleeping.\u201d Locations like Yeouido Hangang Park are frequently used for night walks and bike\u2011date scenes. Iconic spots along the river, including Mapo Bridge \u2014 featured internationally in “Avengers: Age of Ultron” \u2014 highlight the Han River\u2019s versatility as both a romantic backdrop and a global cinematic setting.” class=”image__dam-img image__dam-img–loading” onload=’this.classList.remove(‘image__dam-img–loading’)’ onerror=”imageLoadError(this)” height=”2000″ width=”3000″ loading=’lazy’\/><\/p>\n

\"<aBukchon Hanok Village: Traditional hanok homes meet modern storytelling, this well-preserved historic neighborhood regularly appears in period dramas. It’s also appeared in modern dramas, too, like \u201cPersonal Taste,\u201d and \u201cGuardian: The Lonely and Great God,\u201d as a backdrop for emotional conversations.” class=”image__dam-img image__dam-img–loading” onload=’this.classList.remove(‘image__dam-img–loading’)’ onerror=”imageLoadError(this)” height=”2001″ width=”3000″ loading=’lazy’\/><\/p>\n

\"<aGyeongbokgung Palace: Once home to the kings of the Joseon dynasty, this 600-year-old palace complex is now one of the go\u2011to filming locations for historical dramas such as “Kingdom” and “The Moon Embracing the Sun.” Mainly used for exterior courtyard and gate scenes rather than interiors, its architecture and layered history lends an authenticity that creates a striking cinematic contrast against modern Seoul.” class=”image__dam-img image__dam-img–loading” onload=’this.classList.remove(‘image__dam-img–loading’)’ onerror=”imageLoadError(this)” height=”2002″ width=”3000″ loading=’lazy’\/><\/p>\n

\"<aIkseon-dong Hanok Street: Charming alleyways lined with artisan cafes, wine bars and photogenic storefronts make this area a rising star among tourists and locals. It\u2019s as popular in real-life tourism as it is in fictional romances like \u201cHotel Del Luna,\u201d and \u201cDo Do Sol Sol La La Sol.\u201d” class=”image__dam-img image__dam-img–loading” onload=’this.classList.remove(‘image__dam-img–loading’)’ onerror=”imageLoadError(this)” height=”2026″ width=”3000″ loading=’lazy’\/><\/p>\n

\"<aDongdaemun Design Plaza (DDP): A futuristic landmark of flowing curves, DDP often sets the tone for sleek sci-fi moments and high-fashion visuals. It\u2019s also a favorite backdrop for iconic entrances \u2014 such as Lee Jae-kyung, the villain in \u201cMy Love from the Star,\u201d or Vincenzo Cassano and Hong Cha-young in \u201cVincenzo.\u201d” class=”image__dam-img image__dam-img–loading” onload=’this.classList.remove(‘image__dam-img–loading’)’ onerror=”imageLoadError(this)” height=”2000″ width=”3000″ loading=’lazy’\/><\/p>\n

\"<aJumunjin Breakwater, Gangneung: While not technically in Seoul, it’s just two hours from the capital on South Korea\u2019s east coast and a must-see for K-drama fans. This iconic location features in a pivotal scene in the fantasy-romance series, \u201cGuardian: The Lonely and Great God\u201d (popularly known as \u201cGoblin\u201d), where protagonist Kim Shin first meets love interest Ji Eun-tak.” class=”image__dam-img image__dam-img–loading” onload=’this.classList.remove(‘image__dam-img–loading’)’ onerror=”imageLoadError(this)” height=”1996″ width=”3000″ loading=’lazy’\/><\/p>\n

Nine iconic K-drama filming locations to visit near Seoul<\/p>\n

\n Shot in just four days in a single indoor studio, Google AI tools Imagen, Nano Banana 2 and Veo were used to generate the backgrounds and visual effects.\n <\/p>\n

\n \u201cEven though generative AI has advanced significantly, most trained AI is based on Western graphics,\u201d says Baek, adding that, to create realistic imagery, CJ ENM has been building an asset library of K-content.\n <\/p>\n

\n Utilizing AI for backgrounds instead of elaborate sets could help save time and costs by limiting location changes for actors and crew, as well as create more realistic backdrops for period dramas. Baek estimates AI could \u201creduce the timeline by 50%.\u201d\n <\/p>\n

\"In<\/p>\n

\"Actors<\/p>\n

\n On May 21, two more AI features were released in South Korean cinemas. Sci-fi cyborg courtroom drama \u201cI\u2019m Popo\u201d and period drama \u201cMan in Hanbok\u201d were entirely AI-generated, with the latter already receiving attention at AI-focused festivals.\n <\/p>\n

\n This flurry of AI productions comes off the back of huge government investment and a rapid expansion of education and production support programs around AI.\n <\/p>\n

\n The South Korean government tripled its AI budget in 2026, and last month, 8 billion won ($5.37 million) of emergency funding for the film industry (which had its annual budget increased by 81% this year) was earmarked for productions using advanced technologies, including AI.\n <\/p>\n

\n State-backed agencies are on board, too: The Korean Film Council hosted an AI film showcase during the Busan International Film Festival in September, while the Korea Creative Content Agency is investing 19.8 billion won ($13.3 million) into AI productions.\n <\/p>\n

\n In February, CJ ENM launched the \u201cAI Content Alliance,\u201d an initiative that brings together academia and the private sector, including small and mid-sized studios, to scale South Korea\u2019s AI content ecosystem.\n <\/p>\n

\n South Korea\u2019s attitude sits in stark contrast to Hollywood, where better AI regulations and protections were a major sticking point in the lengthy Writers Guild and Screen Actors Guild strike in 2023. AI has been used in dozens of major Hollywood films in the past five years, although many \u2014 like \u201cThe Brutalist\u201d \u2014 have faced backlash for doing so.\n <\/p>\n

\"A<\/p>\n

\n \u201cHollywood is very cautious right now; they have a strong aversion to replacing human resources,\u201d says film director and visual effects veteran Seong-Ho Jang. But South Korea\u2019s film guilds are less established than those in the US and have limited influence and strike rights, so \u201cindividual voices tend to be drowned out,\u201d says Jang.\n <\/p>\n

\n His company, MOFAC Studios, produced the animated hit \u201cThe King of Kings,\u201d the highest-grossing Korean film in the US to date, for a fraction of the cost of a Hollywood production.\n <\/p>\n

\n For a small studio like his, Jang says AI is not just about cutting costs, but improving quality: he\u2019s currently integrating AI into MOFAC\u2019s production workflows, with the company receiving a 6-billion-won ($4 million) investment last year to further develop its Unreal Engine-based production technology.\n <\/p>\n

\n \u201cIn the past, a team leader would have 20 or 30 people working in each department. Now, with just one or two, or at most three or four, team leaders can achieve the same level of efficiency, faster, and with higher quality. That\u2019s a tremendous advantage,\u201d he says.\n <\/p>\n

Ethics, bias and copyright<\/p>\n

\n While the South Korean government might be all-in on AI, not everyone is on board.\n <\/p>\n

\n Park Chan-wook, one of the country\u2019s most acclaimed directors, has been vocal in his concerns about the encroachment of AI on the industry, worrying that it will replace a huge number of jobs and filmmakers will be forced to embrace it.\n <\/p>\n

\n In the climax of his recent film \u201cNo Other Choice,\u201d starring Lee Byung-Hun<\/a>, Park touches on the replacement of human labor with AI.\n <\/p>\n

\n \u201cI wanted to convey the message that getting fired is a very violent act that destroys one\u2019s humanity \u2014 and AI is doing that to mankind right now,\u201d Park told The Hollywood Reporter<\/a> in October.\n <\/p>\n

\n Similarly, \u201cParasite\u201d director Bong Joon Ho has been outspoken<\/a> about his fears of AI\u2019s use in the film industry, although he acknowledged that AI was used in some of the visual effects in his 2025 film \u201cMickey 17.\u201d\n <\/p>\n

\"Lee<\/p>\n

\"Robert<\/p>\n

\n Copyright frameworks are still evolving: while the Korea Copyright Commission has issued multiple generative AI guidelines \u2014 addressing what works qualify for copyright, preventing copyright disputes, and how fair use applies to training AI models \u2014 there are still many unanswered questions around authorship and ownership for generative AI works.\n <\/p>\n

\n \u201cThe concept of credit may now shift from individual artists to companies,\u201d speculates Baek. \u201cOf course, the artist takes credit for that work that he or she did; but ultimately, the company that built the system of the database is also important.\u201d\n <\/p>\n

\n AI in cinema raises ethical challenges around bias, stereotyping, and cultural homogenization, and some critics argue that algorithm-driven aesthetics may erode the human touch that made K-cinema iconic.\n <\/p>\n

\n \u201cI think there\u2019s a real risk that, on the one hand, you\u2019re able to create these images that are really difficult to create in the real world; but you lose something at the same time,\u201d says Paquet. \u201cAI is going to give new options to filmmakers, but I\u2019m not sure it\u2019s going to make things easier, because if a production does sacrifice quality, I think the audience may not support that.\u201d\n <\/p>\n

\n The use of AI isn\u2019t necessarily a draw for viewers, either. AI feature \u201cRun to the West\u201d performed poorly at the box office, despite half-price tickets. Even with its low budget, admissions were around one-seventh<\/a> of the number needed to break even.\n <\/p>\n

\n \u201cThe industry is still sort of feeling out what\u2019s possible, what\u2019s reasonable, and what might be the best choice,\u201d says Paquet, adding: \u201cThe industry is open minded, but my feeling is, it hasn\u2019t really strongly committed to AI yet.\u201d\n <\/p>\n

\n For many, though, AI is just another technology: many have compared<\/a> it to other sector-wide technology changes \u2014 such as the introduction of sound to silent films in the 1920s, videotape in the 1980s, or the advent of streaming \u2014 which the industry has largely weathered.\n <\/p>\n

\n \u201cContent has always evolved alongside technology,\u201d says Baek, adding that in addition to improving productivity and efficiency, creativity will be enhanced \u201cby enabling things that weren\u2019t possible before.\u201d\n <\/p>\n

\n There are areas that can\u2019t be replaced by AI, she adds: for example, story development, scripting and acting.\n <\/p>\n

\n \u201cThe characters driving a live-action story are actual actors, and AI cannot replicate the actor\u2019s eye expression or the facial nuances,\u201d she says.\n <\/p>\n

\"Hyun-jung<\/p>\n

\n Kwon sees the integration of AI into films as an extension of CGI technology: he recalls fears that films using computer graphics wouldn\u2019t resonate, but films like \u201cAvatar\u201d demonstrated the technology could deliver emotional impact.\n <\/p>\n

\n \u201cIt is not important what tool makes a film, but the real importance of filmmaking is the core message,\u201d he says.\n <\/p>\n

\n For Jang, AI should be \u201cunderstood as a useful tool,\u201d and used sparingly.\n <\/p>\n

\n \u201cThe moment you start thinking AI can do everything and overusing it, it\u2019s not a good approach. Audiences will quickly notice that,\u201d says Jang, adding: \u201cMy goal is to use AI effectively, but also to get audiences to ask, \u2018Where did you use AI?\u2019\u201d\n <\/p>\n","protected":false},"excerpt":{"rendered":"Summary South Korea’s film industry is turning to artificial intelligence to cut production costs amid declining box office…\n","protected":false},"author":2,"featured_media":469077,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[220,218,219,61,60,80],"class_list":["post-469076","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artificial-intelligence","tag-ai","tag-artificial-intelligence","tag-artificialintelligence","tag-ie","tag-ireland","tag-technology"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts\/469076","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/comments?post=469076"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts\/469076\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/media\/469077"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/media?parent=469076"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/categories?post=469076"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/tags?post=469076"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}