The ancient city of Gyeongju is often called Korea’s “museum without walls,” a serene landscape of royal tombs and Buddhist temples. However, a new movie is using this historic backdrop for a story of dark family vengeance. The upcoming Gyeongju Trip film, a tale of four women on a mission, just captured the Audience Award at the 24th Florence Korean Film Festival, proving that its unique story resonates far beyond Korea’s borders.
Distributed by Lotte Entertainment, the film tells the story of a mother and her three daughters. They embark on what they call a “killing trip” to avenge the youngest daughter, Gyeongju. She tragically never returned from a school trip eight years prior. The festival, a two-decade-old institution in Italy, serves as Europe’s largest platform for Korean cinema and a vital bridge for cultural exchange. For the industry, a win here signals strong potential for European distribution and audience reception.
The film’s success with Italian audiences stems from its masterful blend of conflicting tones. Film critic Caterina Liverani described it as a work where “comic while surreal situations unfold intertwined with personal pain.” Furthermore, the festival’s vice chairman, Jang Eun-young, noted that viewers praised the family-focused narrative and the “very moving” ensemble performance from the actors. This emotional core allowed the story to transcend cultural specifics. The film’s setting was another powerful draw. As a result, the depiction of a Korean city not widely known internationally offered a fresh and compelling window into the country. This success shows investors that uniquely Korean settings, far from being a barrier, can be a major selling point for content aiming for global markets.
The project is helmed by a formidable cast of Korean acting royalty. For instance, it stars Lee Jung-eun and Park So-dam, both of whom gained global fame through the Oscar-winning film Parasite. In addition, the cast includes Gong Hyo-jin, a beloved star widely regarded as the queen of Korean romantic comedies, and Lee Yeon. This powerhouse lineup, under the direction of Kim Mi-jo, gives the complex story of this Korean family revenge film both commercial appeal and critical weight. The enthusiastic reception in Florence underscores a key trend: Korean cinema’s global appeal is diversifying beyond high-octane thrillers and into more nuanced, character-driven stories. Therefore, the market for varied Korean narratives continues to expand. The film is scheduled for domestic release later this year.
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