Park Chan-wook

Personal Info

Known For

Directing

Known Credits

2.1773

Gender

Male

Birthday

23-Aug-1963

Age

(63 years old)

Place of Birth

Seoul, South Korea

Also Known As
  • Chan-wook Park

Park Chan-wook

Biography

Park Chan-wook (Korean: 박찬욱; pronounced [pak̚tɕʰanuk̚]; born 23 August 1963) is a South Korean filmmaker and former film critic. Widely regarded as a leading figure in South Korean and 21st-century world cinema, he is known for films that blend crime, mystery, and thriller elements with other genres. His films are noted for their cinematography, framing, black humour, and often brutal subject matter. After two unsuccessful films in the 1990s, which he has since largely disowned, Park came to prominence with his acclaimed third directorial effort, Joint Security Area (2000), which became the highest-grossing film in South Korean history at the time and which Park himself prefers to be regarded as his directorial debut. Using his newfound creative freedom, he would go on to direct the films forming his unofficial The Vengeance Trilogy: Sympathy for Mr. Vengeance (2002), a financial failure that polarised critics, followed by Oldboy (2003) and Lady Vengeance (2005), both of which received critical acclaim and were financially successful. Oldboy in particular is regarded as one of the greatest films ever made, and helped establish Park as a well-known director outside his native country. Most of Park's work following The Vengeance Trilogy was also commercially and critically successful both in South Korea and internationally, such as Thirst (2009), The Handmaiden (2016), which earned Park the BAFTA Award for Best Film Not in the English Language, and Decision to Leave (2022), which won the Best Director award at the 2022 Cannes Film Festival. He directed the English-language miniseries The Little Drummer Girl (2018) and The Sympathizer (2024). His 2025 film No Other Choice was nominated for the Golden Globe for Best Foreign Language Film and shortlisted for the Academy Award for Best International Feature Film. Description above from the Wikipedia article Park Chan-wook, licensed under CC-BY-SA, full list of contributors on Wikipedia.


Credits

영화판 영화판 (2012) Character: Self
Director Chung Ji-Young criticizes the thought that older directors have difficulties in making certain movies. Actress Yoon Jin-Seo agonizes over her identity as an actress. In 2009, before the movie "Unbowed" was made, they met and planned a documentary about Korean movies, including the processes a Korean movie goes through and difficulites. "Ari Ari the Korean Cinema" is a documentary with interviews of Korean directors, actors and actresses.
Les renaissances du cinéma coréen Les renaissances du cinéma coréen (2005) Character: Self
South Korean cinema is in the throes of a creative explosion where mavericks are encouraged and masters are venerated. But from where has this phenomenon emerged? What is the culture that has yielded this range of filmmakers? With The Nine Lives of Korean Cinema, French critic, writer and documentarian Hubert Niogret provides a broad overview but, nevertheless, an excellent entry point into this unique type of national cinema that still remains a mystery for many people. The product of a troubled social and political history, Korean cinema sports an identity that is unique in much modern film. Niogret's documentary tells of the country's cinematic history - the ups along with the downs - and gives further voice to the artists striving to express their concerns, fears and aspirations.
Through Korean Cinema Through Korean Cinema (2010) Character: Self
Discover the roots of Korean cinema. A cinema who surprised by the success recorded in the major international festivals. Interviews to five famous Korean directors, to get to know closely the evolution of Korean cinema. Through their words, their pictures and their stories. The Korean cinema has tendency to describe both the society, the past and the modern. The world of west cinema knows these directors through the journey of some of their movies. What do we know about their thoughts, their life, their culture and their way of working? The documentary focus on it.
감독들, 김기영을 말하다 감독들, 김기영을 말하다 (2007) Character: Self
A documentary consisting of twenty-two Korean directors' interviews about Kim Ki-young and respect for his work and the influence
Snowpiercer: Transperceneige, From the Blank Page to the Black Screen Snowpiercer: Transperceneige, From the Blank Page to the Black Screen (2014) Character: Self
Documentary on the making of the film.
Making of Thirst Making of Thirst (2010) Character: N/A
90 minute making of doc
The Process of Mr. Vengeance The Process of Mr. Vengeance (2005) Character: Self
This making-of is made up of a series of short vignettes, starting with a piece on Shin Ha-Kyun and Bae Du-Na learning sign language for their roles, followed by some on-set interviews with Song Kang-Ho, Shin, and Bae. One of the noteworthy takeaways from these clips is the oddly frequent laughter on the set, especially while shooting some particularly wrenching scenes. Next are a few pieces on the prosthetic effects used for some of the stabbings, etc. It wraps up with Park Chan-Wook discussing the casting process for some of the smaller roles and footage of Park's friend Ryu Seung-Wan helping to choreograph a scene on set.
The Making of Lady Vengeance The Making of Lady Vengeance (2005) Character: N/A
An EPK that offers a brief look at the making of the film that is busy with behind-the-scenes footage, including some amusingly light-heated moments such as Choi Min-sik fluffing his lines and crew members with bananas stuffed in their mouths to stop them laughing. A cheerless voice-over passes up no opportunity to compliment the fortitude, bravery and skill of the cast and crew.
Making of The Handmaiden Making of The Handmaiden (2018) Character: N/A
Behind the scenes
마스카라 마스카라 (1995) Character: N/A
Buzz Salon which is run by Cho is known for its mysterious ambience. Gi-hyuk, one of Cho's best customers, falls for Hae-joo, a hostess at Buzz. Cho uses Hae-joo to kill gangsters who harass him with money he owes them. When Gi-hyuk discovers that Hae-joo is biologically male, he feels betrayed and becomes disillusioned. He leaves her for good. Hae-joo is able to get her transgender operation in return for the assassinations and goes in search of Gi-hyuk. She returns to Gi-hyuk, as a new person, calling herself Yoo-jung. She also begins to take revenge on the thugs who abused her in the past.
Продавцы планктона Продавцы планктона (2017) Character: Self (archive footage)
A nostalgic look at the birth and death of arthouse film distribution in Russia in the early 2000s. The story of the company Cinema Without Borders and its two founders, Sam Klebanov and Anton Mazurov.
한강전傳: 그녀의 일곱 인생 한강전傳: 그녀의 일곱 인생 (2025) Character: Self
Author Han Kang mourns everything that fades and perishes in the world, including her sister, who died just two hours after birth. Her mourning transcends writing; she composes music, sings, and even holds rituals for the dead at times. This documentary spotlights Han Kang as a unique artist who communicates with the world through diverse forms like art, music, and documentary. "Han Kang Chronicles: A Tale of Seven Lives" sensuously captures her literary world through dance and theater.
Müdigkeitsgesellschaft: Byung-Chul Han in Seoul/Berlin Müdigkeitsgesellschaft: Byung-Chul Han in Seoul/Berlin (2015) Character: Self
The essay film about the German philosopher Byung-Chul Han encircles the phenomenon of fatigue in our capitalistic societies and its associated symptoms such as depression and burnout. It raises the question of how we want to live today, and what we can oppose to the pressure of an achievement-oriented digital society.
복수는 나의 것 복수는 나의 것 (2002) Character: Bus Passenger (uncredited)
A deaf man and his girlfriend resort to desperate measures in order to fund a kidney transplant for his sister. Things go horribly wrong, and the situation spirals rapidly into a cycle of violence and revenge.
미스터김, 영화관에 가다 미스터김, 영화관에 가다 (2026) Character: Self
After the COVID-19 pandemic, Busan International Film Festival founder Kim Dong-ho, at eighty-five, picks up a camcorder for the first time and decides to make a documentary. His lens turns toward cinemas struggling through the crisis, as beloved theaters vanish amid dwindling audiences. Seeking to reconnect with old friends, "Mr. Kim" — now nearing ninety — travels the world to talk with filmmakers and cinephiles. Through these encounters, he reflects on cinema’s past and future, finding wisdom and resilience in a time of transformation. His journey becomes a meditation on change, memory, and the enduring spirit of film.
좋.댓.구 좋.댓.구 (2023) Character: Self
Oh Tae-kyung, once an up-and-coming actor, starts a YouTube channel. He starts to produce content where he grants people's wishes, borrowing a concept from the movie “Oldboy”.
올드보이의 자서전 올드보이의 자서전 (2004) Character: N/A
3 and a half hour making of documentary on Oldboy, covering nearly every scene
미쓰 홍당무 미쓰 홍당무 (2008) Character: Passerby
After being demoted from teaching Russian to middle-school English students, Me-sook is literally red-faced with shame, because on top of all her other issues — unrequited love, unpopularity — Me-sook has a blushing problem.
올드 데이즈 올드 데이즈 (2016) Character: Self
Old Days is a documentary about Park Chan-wook's original masterpiece, Oldboy. It was created for Plain Archive's Blu-ray release and first screened at the Jeonju International Film Festival.



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