From censored movie theaters of the past to the spotlight of the Oscars, the South Korean phenomenon has crossed borders and taken root in the hearts of Brazilians.
In recent years, the world has embraced productions from Asian countries, especially South Korea. Whether through K-Dramas (or doramas, as they are popularly known in Brazil), impeccable soundtracks, or cinema, South Korea has captivated global audiences with engaging stories, auteur direction, and remarkable technical excellence. In Brazil, this phenomenon has grown notably—particularly during the COVID-19 pandemic—boosted by streaming platforms and public curiosity for narratives outside the Hollywood mainstream.
South Korean cinema began during Japanese colonial rule, which lasted from 1910 to 1945. The first recorded Korean film was Uirijeok Gutu (Fight for Justice) in 1919, a silent short film now considered lost. During this period, cinema was strictly controlled by Japanese authorities, who imposed heavy censorship on local productions, hindering the development of a distinct cinematic identity. Despite these restrictions, some Korean filmmakers found subtle and symbolic ways to preserve national culture through cinema, using it as a form of resistance.
After Korea’s liberation from Japan in 1945, the peninsula faced new instability with the Korean War (1950–1953), which devastated the country and led to its division into North and South Korea. In the years that followed, South Korea went through authoritarian regimes and political turmoil, with cinema often used as a propaganda tool. Even so, the 1960s marked the beginning of what became known as the “first golden age” of South Korean cinema. With a slight cultural opening, prominent names emerged, such as Shin Sang-ok and Kim Ki-young, who addressed complex social themes in their work—such as the classic The Housemaid (1960), still regarded as one of Korea’s cinematic masterpieces.
In the 1970s and 1980s, under military dictatorship, censorship became even stricter. Scripts were rigorously reviewed by the government, and many films were altered or banned. Furthermore, the rise of television drew audiences away from cinemas, triggering a crisis in the industry. Nonetheless, some directors managed to navigate these constraints with subtle storytelling and implicit social critique, helping shape the bold, provocative, and creative style that still defines South Korean cinema today.
The 1990s marked a major turning point for Korean cinema. With the country’s democratization after years of dictatorship, the film industry began to thrive under newfound artistic freedom and private investment. This environment fostered the emergence of directors who would completely transform the reputation of Korean cinema. Visionaries like Park Chan-wook, Bong Joon-ho, and Kim Ki-duk gained recognition with bold, auteur-driven films rich in cultural identity. They distanced themselves from conventional formulas and embraced provocative narratives with sophisticated aesthetics and strong social commentary—elements that would become hallmarks of modern Korean cinema.
International recognition followed shortly after. In the 2000s, films such as Oldboy (2003) by Park Chan-wook, Memories of Murder (2003) by Bong Joon-ho, and The Host (2006), also by Bong, showcased the power of South Korean storytelling. These productions combined intelligent, layered scripts with themes of collective trauma, inequality, corruption, and violence, all presented with striking visual styles and fearless direction. This new era not only won over local audiences but also drew global attention from film festivals and critics, positioning South Korea as a creative force in world cinema.
Government support played a key role in this artistic boom. After the 1997 Asian financial crisis, South Korea began investing heavily in its creative economy, recognizing culture as a valuable export. The Korean Film Council (KOFIC) was established to provide funding for filmmakers, training programs, international partnerships, and global film distribution. Tax incentives, national film screening quotas, and direct subsidies further strengthened the sector. This combination of creative freedom, local talent, and smart public policy laid the foundation for one of the world’s most respected film industries.
The most symbolic turning point for global recognition came in 2019 when Parasite, directed by Bong Joon-ho, became the first non-English-language film to win the Academy Award for Best Picture. This historic victory not only showcased the film’s narrative and technical excellence but also cemented South Korea’s status as a cinematic powerhouse. However, this triumph was the result of decades of gradual progress, fueled by talent, investment, and a global openness to diverse storytelling.
Even before Parasite, K-Dramas had already been winning hearts worldwide, and Brazil became one of the most receptive markets for this content. With the arrival of the COVID-19 pandemic in 2020, interest in Asian productions skyrocketed. During social isolation, many people turned to doramas for comfort, emotion, and human-centered stories with a sensitivity often lacking in Western shows. Series such as Crash Landing on You (2019), It’s Okay to Not Be Okay (2020), and Hospital Playlist (2020) became global hits, topping streaming platform charts—especially on Netflix, which began heavily investing in Korean content licensing and production.
In Brazil, the impact was visible: fan communities grew exponentially on social media, YouTube channels dedicated to K-drama reviews multiplied, and interest in Korean language, culture, and cuisine surged. Brazilian audiences not only fell in love with the stories and characters but also felt emotionally connected to the social and family issues portrayed. What began as a niche interest evolved into a loyal fanbase, many of whom transitioned from K-Dramas to Korean cinema, further expanding South Korea’s cultural footprint. Today, watching Korean productions is part of daily life for many Brazilians—and the phenomenon shows no signs of slowing down.
As South Korean cinema gains more ground in Brazil, one initiative stands out: the Korean Film Festival – KOFF, an event entirely dedicated to Korean cinematography. Contributing directly to this cultural expansion, KOFF is set for its third edition in 2025, touring seven Brazilian cities.
The circuit begins in Piracicaba (SP) from August 15 to 18, and continues through Goiânia (GO), Fortaleza (CE), Porto Alegre (RS), Curitiba (PR), Belo Horizonte (MG), and ends in São Paulo (SP) from October 2 to 8.
The 2025 program includes a Non-Competitive Showcase and a Competitive Showcase, international debates, film workshops, exclusive screenings in Brazil, a tribute to filmmaker Lee Chang-dong, and a special retrospective of seven restored films celebrating 50 years of the Korean Film Archive (KOFA). Curated by Prof. Dr. Rubens Rewald with co-curation by Prof. Dr. Josmar Reyes, the festival’s theme will be “Diversity and Modernity” in South Korean cinema, promoting dialogue between Brazil and South Korea.
KOFF is part of the Official Events Calendar of Piracicaba, established by Law No. 100.10/2023, authored by City Councilor Pedro Kawai.
The festival offers free admission, and the full schedule will be released soon. For more information, visit the official KOFF profile: @koffko_
Piracicaba (SP): August 15–18
Venue: Teatro do Engenho Central
Goiânia (GO): August 19–24
Venue: SESC Centro
Fortaleza (CE): August 26–30
Venue: Cine São Luiz
Porto Alegre (RS): August 29–31
Venue: Cinemateca Paulo Amorim
Curitiba (PR): September 11–17
Venue: Cine Passeio
Belo Horizonte (MG): September 16–21
Venue: SESC Palladium
São Paulo (SP): October 2–8
Venue: Reserva Cultural
Admission: Free
South Korea has firmly established itself as a global creative hub, with productions that bridge independent cinema and mainstream blockbusters. Its sensitive exploration of themes such as inequality, loneliness, youth, and family—combined with exceptional technical mastery—ensures its continued presence on the global stage.
In Brazil, this fascination is only expected to grow, fueled by the emotional connection audiences have developed with Asian culture and their desire for more authentic and innovative storytelling. If Hollywood once reigned alone, the world now has new protagonists—and South Korean cinema is, without a doubt, one of them.
By: Suzana Gonzales
KOFF – Festival de Cinema Coreano SP, event from the Official Calendar of Events of the city of Piracicaba, was created by a group of Korean culture enthusiasts, with the aim of celebrating 60 years of Korean immigration in Brazil, in 2023. Made by RTW Brasil
