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  • Singer Park Hye-kyung Releases New Single, Dreams Don’t Melt
    Singer Park Hye-kyung Releases New Single, 'Dreams Don’t Melt' Singer Park Hye-kyung is returning with a new song. Park is releasing the single, “Dreams Don’t Melt,” on Wednesday. The modern rock track, marked by a polished British alternative feel, carries a message that dreams held deep inside do not disappear even through hardship and the passage of time. The song opens with a lyrical guitar riff and restrained vocals, then builds as distorted guitar and a driving rhythm intensify toward the chorus. Park’s clear tone and huskier voice add to the song’s sincerity. Through her agency, Park said she hopes the new release “will become a song of encouragement for everyone going through a difficult time, so they can run again toward tomorrow.” She added that returning with new music after a long break feels especially meaningful, saying she spent that time thinking and preparing musically and “put that sincerity into this new song.” Park also said she plans to connect more directly with fans through busking and other formats, and promised to repay those who have waited with better music and an earnest presence. “Dreams Don’t Melt” will be available at 6 p.m. Wednesday on major online music platforms.* This article has been translated by AI. 2026-04-16 17:54:08
  • Robert De Niro, Ben Stiller and Ariana Grande Set for Meet the Parents 4 in November
    Robert De Niro, Ben Stiller and Ariana Grande Set for 'Meet the Parents 4' in November 'Meet the Parents 4' has set a November release and unveiled its first poster and trailer. The 'Meet the Parents' franchise is a comedy built on the tense, often awkward standoff between a father-in-law and son-in-law. It has centered on Jack Byrnes, a CIA veteran, and Greg Focker, who is trying to win approval to marry into the family. The first film earned $330 million worldwide, and the second topped it with $522 million. In the fourth installment, Greg’s son, Henry, introduces his girlfriend, Olivia, to the family. Robert De Niro and Ben Stiller return, and Ariana Grande joins the cast as Olivia. The newly released poster highlights the friction among the characters, contrasting Stiller’s Greg with De Niro’s Jack glaring at him, alongside a confident Olivia. The trailer uses BLACKPINK’s “JUMP” as background music. Jack tells Olivia, “Don’t worry. We do this with all potential new family members,” as he puts her through a lie detector test. Greg also tries to determine whether Olivia is right for Henry. Olivia, described as a former FBI hostage negotiator, pushes back in unexpected ways, raising the stakes. The film’s team said Stiller’s character, once the son-in-law under scrutiny, now faces a reversal. They said the sparring between Stiller as a prospective father-in-law and Grande as a formidable prospective daughter-in-law will be a key draw. '’Meet the Parents 4’ is directed by John Hamburg, who worked on the scripts for all previous films. De Niro, Stiller, Owen Wilson and Grande star. The film is scheduled for release in November.* This article has been translated by AI. 2026-04-16 17:48:26
  • Jung Woo Returns as Jjangu in New Film, Co-Directing Autobiographical Story
    Jung Woo Returns as Jjangu in New Film, Co-Directing Autobiographical Story 2009’s hit film “Wish” (“Baram”), often dubbed an “unofficial 10 million” blockbuster and long embraced by many Korean men as a defining movie, is bringing back its character Jjangu after 16 years — this time as the focus of a new film. “Jjangu” follows the character in his 20s after high school, thrown into what the film portrays as a jungle-like adult world, fighting to survive while chasing a single goal: becoming an actor. A press screening and news conference for “Jjangu,” co-directed by Oh Seong-ho and Jung Woo, was held Wednesday afternoon at CGV Yongsan I’Park Mall in Seoul. Oh, Jung and cast members Jung Soo-jung, Shin Seung-ho, Kwon So-hyun and Jo Beom-gyu attended. Set in the 2000s, the film depicts Jjangu (played by Jung) as he starts living on his own in Seoul and confronts the realities of pursuing his dream. The project draws heavily from Jung’s own story; he wrote the screenplay and also co-directed. Capturing the atmosphere and sensibility of Busan, where the story is rooted, was a key challenge, Oh said. “Gyeongsang Province’s sensibility was very important,” Oh said, adding that locations needed to feel lived-in rather than like tourist spots. He said the team practiced to avoid “fake” dialect and deliver authentic Busan speech. For Jung, filming in his hometown came with a warm reception. He said some locations — including a nightclub and a gukbap restaurant — were initially difficult to secure, but local contacts offered support after hearing he was making the film. “They sponsored us and even lent us the places,” Jung said. “I thought, ‘I’m not done yet,’ and that people in Busan still care about me. I filmed with a grateful heart.” Like “Wish,” which drew attention for its lively chemistry among friends, “Jjangu” leans on fast back-and-forth between characters. Jung said he wrote the script as if he were hanging out with his real friends, while also doing extensive rehearsals and read-throughs. He said the cast was chosen not only for dialect but for acting ability and fit with the roles, adding that their personalities helped create the on-screen rhythm. Co-stars credited Jung’s drive on set. Jo said he felt he would learn a lot by working alongside Jung, whose energy helped shape the chemistry between their characters. Shin said the set was consistently enjoyable and that he hoped that feeling would carry to audiences. He said Jung’s leadership allowed the actors to perform in a “live” tone and situation, to the point he sometimes forgot they were filming. Jung said returning to the role of Jjangu — and taking on directing — carried special meaning. He said “Jjangu” has been his nickname since he was 2 or 3 years old, and that the character again brought thoughts of his father. “It was nice to revisit the acting I did 16 years ago as Jjangu,” he said. “I thought audiences might be happy to see him again, too. I hope they feel that way.” Jung said that while co-directing and starring can bring practical burdens, he had fun during production. He also said he was grateful to have the chance to make the film at a time when the movie market is difficult. Asked about how autobiographical the characters are, Jung said not all of them are based on real people. He described Min-hee as a “wannabe” figure for men, and said characters such as Beom-gyu and So-hyun reflect things he saw and experienced indirectly. Jung Soo-jung plays Min-hee, Jjangu’s first love, described as skilled at pushing and pulling in relationships. She said she enjoyed “Wish” and had long been curious about a follow-up. “When I got the offer, I enjoyed reading it, and I wanted to work with Jung Woo,” she said, adding that the cast filmed in a good mood together. On Min-hee’s feelings, Jung said that while the character may seem hard to read, she played every moment as sincere. “Min-hee’s feelings for Jjangu are real,” she said, adding that what begins as a joke gradually becomes an honest confrontation with her true emotions. “Jjangu,” which revisits 2000s nostalgia and the bittersweet growing pains of youth, is expected to offer fans of “Wish” a sense of return while introducing new audiences to Jung’s personal story. It opens in theaters on the 22nd. * This article has been translated by AI. 2026-04-16 17:42:35
  • TOMORROW X TOGETHER Turns the Page With a More Direct Story on The Seventh Year
    TOMORROW X TOGETHER Turns the Page With a More Direct Story on 'The Seventh Year' Dozens of songs and works are created every day, but many never reach a wide audience. The same is true for the artists who sing and act — even strong talent can be overlooked. “Artist Spotlight” introduces artists across fields and tracks their growth, as well as offering an affectionate tribute. <Editor’s note> TOMORROW X TOGETHER’s music has long been built like a continuing narrative, with album series that read as chapters in a coming-of-age story. The group, under BigHit Music, debuted March 4, 2019, as a five-member multinational boy band. Its name means that “you and I, different from each other, come together in one dream to make tomorrow together.” That storyline has moved through releases including “The Dream Chapter: STAR,” “The Dream Chapter: MAGIC” and “The Dream Chapter: ETERNITY,” followed by “minisode1 : Blue Hour.” It continued with “The Chaos Chapter: FREEZE” and “The Chaos Chapter: FIGHT OR ESCAPE,” then “minisode 2: Thursday’s Child,” tracing emotions from excitement and discovery to rupture, confusion, desire and the aftermath of a first breakup. The narrative, however, has not stayed only in a fictional framework. The meaning of the group’s name has been reinforced in its real-life teamwork, marked by trust and affection and a steady commitment to moving forward together. Ahead of their seventh anniversary, all five members renewed their contracts, a decision that underscored they were choosing the next stage as a group. That shift comes into sharper focus on the mini-album “The Seventh Year: When the Wind Stopped for a Moment in the Thornbush.” Where the group previously expressed growing pains through a “boy” persona and an overarching universe, the new release looks more directly at the present — the responsibility and expectations that have accumulated since debut, the gap between ideals and reality, and the anxiety and worry they felt before renewing their contracts. Even as the approach becomes more direct, the group’s emotional texture remains consistent: less blunt force than a feeling that slowly spreads. The mood is often dreamy with a cool edge and a damp lyricism, and the album title and subtitle extend that sensibility, using “thorns” as a metaphor for past pain and a brief calm amid ongoing unease. Those themes carry through the track list. “One More Day” (“하루에 하루만 더”) sings of the desperation to hold on to a love that is nearing its end, while also pointing to determination to keep pursuing a dream — a sentiment the article links to the group’s mindset after renewing contracts. “Bed of Thorns” addresses accepting the results of choices, while “So What” lays out the anxieties and 고민 of the past seven years in more direct terms. “Take Me to Nirvana” and “21st Century Romance” turn to sensations of release and inner signals. The closing track, “Next of Next” (“다음의 다음”), leaves the future uncertain but insists on moving toward tomorrow. In that sense, the album is not simply a “new chapter.” It reframes long-built trust and affection — along with the instability that can come with it — in a more realistic grain. The group’s story, once read mainly as a fictional growth narrative, is now closer to its own names and feelings. The pages, it suggests, are still turning.* This article has been translated by AI. 2026-04-16 10:33:44
  • Jennie Named to Time’s 2026 100 Most Influential People List, Only K-pop Artist Selected
    Jennie Named to Time’s 2026 100 Most Influential People List, Only K-pop Artist Selected Singer Jennie has again underscored her global reach. On April 15 (local time), U.S. newsmagazine Time published its list of the “2026 100 Most Influential People in the World” on its website. Jennie was the only K-pop artist named to this year’s list. The Time 100 recognizes people worldwide for influence, innovation and achievement across fields. Jennie’s recent results have also drawn attention. Her first full-length solo album, “Ruby,” was included in Rolling Stone’s “The 100 Best Albums of 2025.” She also ranked No. 1 on Forbes Korea’s “KOREAN IDOLS OF THE YEAR 2025.” Her chart performance has been notable as well. “Dracula (JENNIE Remix),” a collaboration with Tame Impala, reached a career-high No. 17 on Billboard’s Hot 100. The track also topped Billboard’s Hot Dance/Electronic Songs chart, a first for a K-pop female solo artist. The song was also nominated for Song of the Summer at the 2026 American Music Awards. Time’s full 2026 Time 100 list is available on the magazine’s official website. * This article has been translated by AI. 2026-04-16 08:04:03
  • DKZ to End Group Activities After About Seven Years, Shift to Solo Work in June
    DKZ to End Group Activities After About Seven Years, Shift to Solo Work in June 그룹 DKZ가 약 7년간의 팀 활동에 마침표를 찍는다. 멤버 재찬은 팀 활동 종료 소식을 전하며 팬들에게 감사의 뜻을 전했다. Dongyo Entertainment said on the 15th that after discussions with the members, the group agreed to wrap up DKZ’s activities after its scheduled commitments through May 31, 2026. The agency thanked the members “for their precious effort and time,” and also expressed gratitude to the fandom, known as Dongari, for accompanying the group on its journey. Jaechan also addressed fans directly. “From my debut on April 24, 2019, to today in 2026, so much has happened, and it was a series of happy days beyond what I can put into words,” he said. “Thanks to Ari, I think I was able to feel so many emotions — crying and laughing, enjoying and being happy.” He said he came forward because he felt he needed to share “the end of the journey” from debuting as Dongkiz to becoming DKZ. “Because I was with DKZ, I could become who I am now,” he said, adding that he learned and grew while meeting fans who were “the most precious and reliable” presence for him. Explaining the decision, Jaechan said it still did not feel real that the name DKZ — which he said described his entire life from his late teens to age 26 — would no longer be attached to him. He said the members spent time thinking deeply about the direction each wanted to pursue and their dreams, and concluded that supporting one another while walking separate paths was the more meaningful choice. After group activities end, the five members will pursue individual work. The agency said the members plan to meet fans through solo activities starting in June. It said Jaechan and Juwon have completed contract renewals and will continue working in various fields, while Sehyeon, Mingyu and Giseok will also move forward as artists under the agency. The company said it would continue to fully support all five members and asked for continued encouragement. Jaechan also renewed his exclusive contract and is expected to continue working with Dongyo Entertainment through 2028. “I’ve been promised full support for my overall entertainment activities, so I would be truly grateful if you continue to join me on my journey and be a great source of strength,” he said. “The name DKZ will remain a precious time I will never forget,” he added. “Ari, thank you always, and I love you.” DKZ debuted in 2019 as “Dongkiz.” The group continued activities through a name change and lineup changes, and in 2022 reorganized into a five-member group with the addition of new members.* This article has been translated by AI. 2026-04-15 17:40:01
  • BTS Earns American Music Awards Nods as ‘SWIM’ Hits 100M Views and Charts Stay Strong
    BTS Earns American Music Awards Nods as ‘SWIM’ Hits 100M Views and Charts Stay Strong BTS has landed nominations at the American Music Awards, extended its Billboard run and pushed the music video for its new single “SWIM” past 100 million views on YouTube. According to the AMA nominees list released April 14, BTS was nominated for Artist of the Year. The group previously won the category in 2021 as the first Korean act to do so. BTS also earned nominations for Best Male K-Pop Artist and Song of the Summer, bringing its total to three. “SWIM,” the title track from the group’s fifth full-length album, “ARIRANG,” was nominated for Song of the Summer less than a month after its release. On Billboard’s latest charts released April 14, “SWIM” ranked No. 5 on the April 18 Hot 100. Other “ARIRANG” tracks also charted: “Body to Body” at No. 52, “2.0” at No. 67, “Hooligan” at No. 72, “NORMAL” at No. 82 and “FYA” at No. 90. Six songs from the album have now appeared on the Hot 100 for three consecutive weeks. The group also held No. 1 for a third straight week on Billboard’s Global 200 and Global Excl. U.S. charts with “SWIM.” All 13 vocal tracks placed within the top 50 of the Global 200 and the top 40 of Global Excl. U.S. Over the same period, BTS stayed atop the Billboard 200, Artist 100, Digital Song Sales and Top Album Sales charts for three consecutive weeks. A three-week run at No. 1 on the Billboard 200 is described as an unusual record for K-pop acts and for groups. The “SWIM” music video, released March 20, surpassed 100 million views on YouTube on the afternoon of April 15, adding another 100-million-view video to the group’s catalog. Shot against the sea in Lisbon, Portugal, the video features actor Lili Reinhart and was directed by Tanu Muino. The seven members appear as helpers aboard a ship cutting through waves, supporting a character who has faced setbacks and is trying to move forward. “SWIM” is an alternative pop track about pressing ahead through life’s waves. RM participated in writing the lyrics. The song debuted at No. 1 on the Hot 100 and has remained in the top five for three straight weeks. It has also held No. 1 for three consecutive weeks on Spotify’s Weekly Top Songs Global and continues a long-running No. 1 streak on Spotify’s Daily Top Songs Global. The American Music Awards will be held May 25 at the MGM Grand Garden Arena in Las Vegas. * This article has been translated by AI. 2026-04-15 17:06:09
  • Korean Films ‘Hope,’ ‘Colony’ and ‘Dora’ Invited to Cannes as Park Chan-wook Named Jury President
    Korean Films ‘Hope,’ ‘Colony’ and ‘Dora’ Invited to Cannes as Park Chan-wook Named Jury President Despite the box-office success of the film 'The Man Who Lives With the King,' the broader Korean film industry remains under strain. Against that backdrop, three Korean films — 'Hope,' 'Colony' and 'Dora' — were invited to the 79th Cannes Film Festival, and director Park Chan-wook was appointed president of the competition jury. The most prominent selection is director Na Hong-jin’s 'Hope.' Cannes included the film in its competition lineup, announced April 9 as part of the festival’s official selection. The competition section is Cannes’ centerpiece, bringing together the year’s most closely watched films. It is Na’s first time in Cannes’ main competition. Since his debut with 'The Chaser,' he has maintained ties with the festival through films including 'The Yellow Sea' and 'The Wailing.' The new film also marks his first release in 10 years since 'The Wailing,' adding weight to its competition berth. Director Yeon Sang-ho’s 'Colony' was also invited, landing in the Midnight Screenings section. That program spotlights genre films — including action, thriller, horror, noir and fantasy — that combine craft with broad appeal. Yeon has been selected by Cannes again following 'The King of Pigs,' 'Train to Busan' and 'Peninsula.' Another Korean entry is director Jung Joo-ri’s 'Dora,' invited to the Directors’ Fortnight. The Fortnight’s organizing committee announced the selection on April 14. The noncompetitive section, founded by the French Directors Guild, is known for highlighting distinctive new voices. Artistic director Julien Rejl described 'Dora' as a free and original film inspired by Freud’s early 20th-century “Dora” case, exploring a young woman’s desire — and the passion and confusion that follow — within the context of Korean cinema. Jung’s debut feature 'A Girl at My Door' was invited to Cannes’ Un Certain Regard in 2014, and 'Next Sohee' was selected as the 2022 Critics’ Week closing film. With 'Dora,' all three of her feature films have been invited to Cannes. 'Dora' follows two wounded characters as they are swept into a complex emotional spiral. The film has drawn attention for pairing singer-actor Kim Do-yeon with Japanese actor Sakura Ando. It is an international co-production that received investment and production support from France, Luxembourg and Japan. Park’s appointment further underscores Korea’s presence at this year’s festival. Cannes named Park president of the 79th competition jury, saying it is the first time a Korean has held the post. Park has long been associated with Cannes through films including 'Oldboy,' 'Thirst' and 'Decision to Leave.' Having attended Cannes as an award winner, a competition director and a juror, he will now lead the panel that decides the top prizes. The Cannes invitations alone are unlikely to resolve the industry’s difficulties. Still, as the downturn continues, the festival’s renewed attention to Korean films is being welcomed, and this year’s lineup is expected to prompt a fresh look at where Korean cinema stands now.* This article has been translated by AI. 2026-04-15 14:21:27
  • BTS Places Six Songs on Billboard Hot 100 for Third Straight Week
    BTS Places Six Songs on Billboard Hot 100 for Third Straight Week BTS extended its run on Billboard’s main singles chart, placing six songs on the Hot 100 for a third consecutive week. The group also appeared on Rolling Stone’s May special cover, underscoring its global profile. According to Billboard’s latest charts released April 14, “SWIM,” the title track from BTS’ fifth full-length album “ARIRANG,” ranked No. 5 on the April 18 Hot 100. Five other tracks from the album also charted: “Body to Body” at No. 52, “2.0” at No. 67, “Hooligan” at No. 72, “NORMAL” at No. 82 and “FYA” at No. 90. All six have now remained on the Hot 100 for three straight weeks. The album’s momentum continued across Billboard’s global rankings. “SWIM” held No. 1 for a third week on both the Global 200 and Global Excl. U.S. charts. All 13 vocal tracks from “ARIRANG” were also positioned within the top 50 of the Global 200 and within the top 40 of Global Excl. U.S., Billboard said. BTS also stayed atop the Billboard 200, Artist 100, Digital Song Sales and Top Album Sales charts for a third consecutive week. Billboard said the group’s three-week run at No. 1 on the Billboard 200 was the first such achievement by a K-pop act — and by a group overall — since 2012. BTS additionally ranked No. 1 on Vinyl Albums, No. 4 on Top Streaming Albums and No. 9 on Streaming Songs. In Japan, “ARIRANG” remained No. 1 for a second straight week on Oricon’s Weekly Streaming Ranking with about 8.55 million weekly plays. Oricon said it was the first time since November 2024 that an overseas artist led the chart for two consecutive weeks. Rolling Stone on April 14 released a group cover and an interview video tied to its May special issue. The project is being published simultaneously across 16 countries and regions, including the United States, the United Kingdom, France and Germany, with one group cover and seven individual member covers. In the interview, members spoke about their reflections and changes as they returned as a full group after a hiatus. RM said the album’s 14 tracks are “the answer to the question, ‘What is BTS in 2026?’” adding, “If we no longer challenge ourselves, there’s no reason to keep the team going.” Jin said, “I’ve always thought there’s no reason to continue if I’m not with the group.” J-Hope said, “As we filled in each other’s shortcomings, we realized again why we have to be seven.” Suga said he wanted to focus less on results and more on staying healthy and enjoying activities together. Jimin said he would push himself further to raise the team’s standing. V said he used his military service to reset physically and mentally while planning the next step. Jung Kook said his hunger for the stage grew during the break. BTS also completed the opening shows of its “BTS WORLD TOUR ‘ARIRANG’” on April 9 and April 11-12 at the main stadium of Goyang Sports Complex in Gyeonggi Province. About 132,000 people attended across three concerts, and fans in 194 countries and regions joined through live viewings and Weverse online streaming. The fifth full-length album “ARIRANG” is BTS’ first new release in three years and nine months. The album centers on universal emotions, and “SWIM” conveys determination to keep moving forward through life’s hardships. RM participated broadly in writing lyrics, reflecting the group’s current concerns and stories.* This article has been translated by AI. 2026-04-15 08:57:21
  • How Director Lee Sang-min and Actor Kim Hye-yoon Built the Fear in Salmokji
    How Director Lee Sang-min and Actor Kim Hye-yoon Built the Fear in 'Salmokji' Every production holds many perspectives. The same place and time can feel different depending on where a director or actor stands. “Choi Song-hee’s B-Cut” looks beyond the on-screen “A-cut” to the vivid record of what happened off camera. By weaving interviews with directors and actors, it reconstructs the “B-cut” moments that were often more intense than the finished frame. <Editor’s note> ※This article contains spoilers for the film The horror film “Salmokji” begins when an unidentified figure appears in a reservoir road-view image. A team returns to the site to film again and encounters something in the black, deep water. Rather than leaning on a simple ghost story or shock tactics, the movie builds dread by stacking small, unexplained signs and the slow sense that people at the water’s edge are being consumed. On screen, the reservoir swallows the characters; off screen, the director and cast closely discussed how to shape that fear. Director Lee Sang-min and actor Kim Hye-yoon shared a love of the horror genre, but approached the set differently. Lee focused first on sound, devices and the texture of the location. Kim built the emotions of a character who tries to hold on but ultimately begins to crack. Their contrasting instincts, they said, helped make the film’s fear feel more layered. “Kim Hye-yoon is sincere and exemplary by nature,” Lee said. “Since this is my first film at this scale, she was a real support. She gave a lot of good ideas, and I was grateful that she helped organize difficult ensemble scenes. Her expressiveness is excellent, too. She seemed to know exactly what the right ‘degree’ was. I think we worked together really well.” “On set, Director Lee has a firm image of the script in his head, but when it comes to acting, he left room for us to freely offer ideas and try things,” Kim said. “He’s the type who likes building scenes through a lot of conversation.” Their shared genre taste also carried into discussions about equipment and staging. Lee said he regularly watches horror content on YouTube, and that interest fed into the film’s devices. “I really like horror YouTube,” Lee said. “Watching YouTubers use things like a ghost box, I thought, ‘Someday I have to use that in my movie.’ Usually you just hear static, but if, at a certain spot, words start pouring out, that would be terrifying. Those were elements that scared me even on YouTube, so I tried to blend them into the film.” “I like horror a lot, too, so I knew about that equipment,” Kim said. “The director also knew ghost boxes well, so we talked about the gear and discussed how to use it. Ha ha.” Kim plays Su-in, the character who anchors the story. Within the team heading to Salmokji, Su-in must show leadership while carrying an emotional fault line that could collapse first. Kim said she built Su-in around two main ideas: fear of water and guilt. “When the director and I developed Su-in, we used fear of water — trauma — and guilt as key words,” Kim said. “She’s under huge stress from that, so I thought it would be good if she looked exhausted in every way. A bit worn down, drained, and even when she’s with others, as if she’s lost in different thoughts.” Lee said he started by researching road-view filming and then assigning roles needed for the work — including a road-view controller, a command lead and a place-view role — before shaping the characters. Su-in became central, he said, because the water ghost must “pull” someone in, requiring a backstory that would drive that movement. While everyone goes to Salmokji for the road-view job, Lee said he wanted each person to have a different private goal, and needed a leader who could make rational judgments but still be fixated on the reservoir. That is why he gave Su-in “guilt” as a defining trait, he said. Notably, Su-in’s past is not fully explained in the film. Viewers infer it through bits of dialogue and mood. Lee said he chose that approach to keep attention on what happens in the location itself. “I wanted audiences to focus only on what happens in the film’s ‘space,’” Lee said. “I wanted to unpack the backstory, but no matter how I thought about it, it felt like the flow would drift elsewhere. So I think we only conveyed it through nuance. Su-in had an experience where she almost died in water, and because of that trauma she fears water. She’s assigned to Salmokji for the road-view shoot, and even though she doesn’t want to go, she forces herself. We tried to capture the fear of the space itself and the discomfort of water.” “When I first got the script, he told me about Su-in’s backstory,” Kim said. “It’s part of the story, but it doesn’t appear in the film, so I tried to compress those emotions and show them to the audience.” Kim said one scene she remembers most strongly is the stone-skipping sequence. As Kyung-jun and Sung-bin toss stones across the water to pass time, the film briefly seems to ease its pace — then quickly turns the familiar rhythm into something unsettling. “As a horror fan, my favorite scene in this movie is the stone-skipping scene,” Kim said. “It was also the moment that startled me most in the theater. During filming, what comes flying from the other side was CG, so I couldn’t see it with my eyes, but on the big screen it surprised me — and it was really scary.” Lee said sound was his top priority in shaping that moment. “When should it become quiet? The best moment in a horror movie is when everyone holds their breath,” he said. “I wanted to bring that silence to life. I wanted the sound of the stone flying in, the impact, and the splash to feel sharp. I talked a lot with the sound engineer about how strong the lapping should feel. When you don’t know it’s water, we cut the sound down, and once the camera reveals it’s underwater, we made it feel bigger.” In the end, the film’s fear was not built through a single method. Lee tightened tension through the arrangement of space, sound and devices, while Kim carried Su-in’s inner collapse under trauma and guilt. Their different approaches to the same reservoir, they said, locked together to create the film’s distinctive chill. 2026-04-14 15:33:25