Journalist
Choi Song-hui
alfie312@ajunews.com
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BTS to Launch 'ARIRANG' World Tour With 360-Degree Stage, Promises New Show BTS will open its "BTS WORLD TOUR 'ARIRANG'" with shows on the 9th and 11-12 at the main stadium of Goyang Sports Complex in Gyeonggi Province. Starting in Goyang, the tour will span 85 concerts in 34 cities, including Tokyo, North America, Europe, South America and other parts of Asia. It will set a record for the most shows on a single tour by a Korean artist. The concerts will feature songs from the new album "ARIRANG" along with long-running hits. The group has also teased staging built around a 360-degree setup. The members shared their thoughts and what to watch for through their agency, BigHit Music. RM said it still "doesn’t feel real," adding that preparations for a 360-degree show were not easy but that "once it starts, it’ll be really fun." He said he is excited to pick up a microphone again and meet ARMY fans around the world. Jin said he believes concerts are the most important thing for a singer and that he wants to meet audiences worldwide as soon as possible, adding that he hopes to experience local cultures and the atmosphere in each region. Suga said he has felt since he was young that concerts matter most for singers and that the members are all looking forward to the tour. J-Hope said world tours are always joyful and that he is preparing with a happy mindset for what he called a festival with fans worldwide. Jimin said that while the group has performed many times, it plans to show a stage "completely different" from before, calling it a big challenge and asking fans to look forward to it. V said he worried about being out of practice after a long break and prepared "several times harder," adding that he wants to show everything they have prepared. Jung Kook said he wants to get on stage soon and feels excited about meeting audiences in person again. The group pointed to the 360-degree stage and tailored production as key highlights. RM said he most looks forward to the moment they can all jump around freely on stage and hopes the entire venue feels like one huge club. Jin said the 360-degree stage will be used as if every direction is the front, adding that with the stage rotating and the members moving, audiences can expect a different kind of fun. Suga said he most anticipates the first moment of facing the crowd, adding that the concert includes plenty of show-style production for viewers to enjoy. J-Hope said the 360-degree setup will make each song feel different and that the production will feel like watching a show, with visual aesthetics that express Korea. Jimin said the moment he most looks forward to is meeting ARMY, adding that the group put more effort into production so audiences can enjoy it visually as well. V said the songs, set list, production and overall structure are strong, adding that it is a performance the group can present with confidence. Jung Kook said he has concerns because it is a 360-degree show, but that performing with audiences on all sides will make it more special, adding that there will be plenty to see. A total of 46 shows, including the three Goyang concerts as well as dates at Tokyo Dome and in North America and Europe, have already sold out. In North America, BTS will hold solo concerts — a first for a Korean artist — at Sun Bowl Stadium in El Paso, Stanford Stadium, Gillette Stadium in Foxborough, M&T Bank Stadium in Baltimore and AT&T Stadium in Arlington. The group will also set new marks in South America, becoming the first Korean artist to perform at Estadio El Campín in Bogotá, Colombia, and Estadio Único de La Plata in Buenos Aires, Argentina. It will also hold a solo concert — another first for a Korean artist — at Estadio Nacional in Santiago, Chile. Separately, starting on the 9th, the Korean Intellectual Property Office’s special judicial police for trademarks plans to conduct a public campaign near the concert venue to crack down on counterfeit K-pop goods and promote respect for intellectual property. The effort aims to block distribution of counterfeit products that unlawfully use artists’ trademark rights and to highlight the importance of buying authentic merchandise.* This article has been translated by AI. 2026-04-09 15:39:16 -
Korean Film Groups Urge Rethink of Holdback Law, Propose 20% Cap on Screen Concentration 영화계 주요 13개 단체가 참여한 영화단체연대회의가 더불어민주당 임오경 의원이 대표 발의한 '영화 및 비디오물 진흥에 관한 법률' 일부 개정안의 철회를 요구하고 나섰다. The coalition said the current downturn cannot be explained only by the pandemic and the spread of global streaming platforms, arguing it reflects accumulated structural problems including an oligopolistic theater market, vertical integration and screen concentration. At a policy proposal news conference held Thursday morning at the People’s Solidarity for Participatory Democracy’s Neutinamu Hall in Seoul, participants including Korea Scenario Writers Association Chairman Kim Byeong-in, Nainus Entertainment CEO Kim Seung-beom, attorney Park Kyung-shin, Korea Film Producers Association Vice President Park Kwan-su, director Yang Woo-seok, Korea Film Producers Association Chairman Lee Eun and animation producer Hwang Kyung-sun said the industry faces a structural crisis and needs institutional reform and investment support. Kim said that in 2025 South Korea released fewer than 30 commercial films with net production costs exceeding 3 billion won. “It’s hard to even recall the early-to-mid 2000s, when we made more than 100 films and achieved a renaissance,” he said, adding, “It feels like watching the collapse of Hong Kong’s film industry in the late 1990s.” Yang said the crisis is often attributed to the roughly two-year pandemic period starting in 2020 and Netflix’s push into home viewing, but he argued South Korea’s weak recovery compared with other countries stems from a fragile industrial structure. He said admissions fell from about 230 million in 2019 to 106 million as of the end of 2025, or 46% of the earlier level. The coalition also opposed a controversial proposal to legislate a “holdback” period. The amendment sponsored by Democratic Party lawmaker Lim Oh-kyung would allow films to be released on follow-on platforms such as IPTV and OTT services only after six months have passed since the end of their theatrical run. Speakers argued that a six-month gap between theaters and IPTV is not a holdback but effectively a blackout. Park said the news conference was not held to support Lim’s bill. “This amendment should be fully withdrawn. It’s not a normal holdback bill; it’s a blackout bill,” he said. Park said protecting a film’s theatrical run matters, and argued it could be achieved by introducing limits on screen concentration. As an alternative, the coalition proposed a system to prevent theater chains from allocating an excessive share of seats to one or two films. It said a single film’s share of screens should be capped at 20%. The group said that if such a system takes hold, more films would remain in theaters longer and holdback periods between platforms could normalize naturally. It also said film profitability could improve and, over time, theater revenue could recover. Park said theaters’ worsening revenue is not due to holdbacks but to market concentration and vertical integration that have led to consumers and business partners being treated poorly. He said theaters should start by lowering ticket prices and screening a wider range of films, adding that distributors and producers would have less reason to rush films to other platforms if they are performing well in theaters. The coalition said holdbacks should apply only when theaters show a willingness to keep films on screens and should serve as a rule that protects that effort. It said Lim’s amendment should be scrapped because it reflects the views of major theater chains without collecting opinions from the broader film industry. Lee said Lim’s intent in proposing the amendment appeared positive, but he argued it was drafted without a close look at the industry and should be discarded. On the proposed 20% cap, Lee said that in the past it was considered desirable for a film not to exceed 30%, but the coalition is now calling for 20%, adding that the figure should be adjusted through discussions that include theaters and distributors. Citing overseas examples, Lee pointed to Japan to argue for a long-run screening structure. He said it took more than six months for “Kokuhou” to draw 10 million moviegoers in Japan, while “The Man Who Lives With the King” surpassed 10 million in four weeks. Lee said theaters are focused on boosting revenue by reducing other films’ shares, warning that without reasonable limits on screen concentration, irreversible situations could repeat. Speakers also called for expanding investment alongside institutional reforms. They said that with average production costs for commercial films exceeding 10 billion won, there is an urgent need to create large funds in the 100 billion won range as well as mid-sized funds. They said film funds backed only by the government’s fund-of-funds have limits, and proposed that the government act as an anchor investor and provide tax benefits to attract private capital. The coalition said the industry’s slump reflects not only falling admissions but broader structural problems, and argued that limits on screen concentration and expanded financing should be discussed before legislating holdbacks. It urged the government and the National Assembly to consider the proposals in future legislative and policy discussions.* This article has been translated by AI. 2026-04-09 14:27:09 -
Lotte Cinema to Exclusively Screen LE SSERAFIM’s First VR Concert Film 롯데시네마가 르세라핌(LE SSERAFIM)의 첫 VR 콘서트 ‘르세라핌 브이알 콘서트 : 인비테이션(LE SSERAFIM VR CONCERT : INVITATION)’을 단독 개봉한다. 롯데시네마는 르세라핌의 퍼포먼스를 VR 기술로 구현한 이번 작품을 월드타워에서 단독 상영한다고 밝혔다. 관객들은 현실과 환상이 교차하는 세계관 속에서 르세라핌의 무대를 새로운 방식으로 만나볼 수 있다. 롯데시네마는 오는 4월 15일부터 월드타워 3관을 ‘르세라핌 VR 전용 상영관’으로 운영한다. 상영관뿐 아니라 월드타워 곳곳도 르세라핌 비주얼로 꾸며 관람 전부터 몰입감을 높일 예정이다. 공식 머치도 선보인다. 롯데시네마는 VR 콘서트 최초로 극장 내에서 공식 상품을 단독 출시하고, 월드타워 스위트샵에서 뷰파인더와 렌티큘러 포토카드팩 등을 판매할 계획이다. 관람객을 위한 이벤트도 진행된다. 기본 특전에 더해 매주 다른 주차별 특전이 선착순으로 제공된다. 자세한 내용은 롯데시네마 공식 홈페이지와 애플리케이션에서 확인할 수 있다. 롯데시네마 관계자는 “이번 르세라핌 VR 콘서트는 전용 상영관을 마련해 공간 전체가 하나의 콘텐츠가 되도록 기획했다”며 “공식 머치 출시와 특전 등 다양한 현장 이벤트를 통해 극장에서 더욱 특별한 경험을 하길 바란다”고 말했다.* This article has been translated by AI. 2026-04-09 10:09:19 -
'Salmokji' Tops Box Office on Opening Day With Best Horror Debut Since 2021 The horror film ‘Salmokji’ opened at No. 1 at the box office on its first day in theaters, according to industry data. The film follows a production crew that heads to a reservoir for a reshoot after an unidentified figure appears on a road-view image, only to encounter something lurking in the dark, deep water. According to the Korean Film Council’s integrated ticketing network, ‘Salmokji’ drew 89,912 moviegoers on its opening day, April 8, bringing its cumulative audience to 116,825. The figure topped the same-day daily box office totals for ‘The Man Who Lives With the King’ and ‘Project Hail Mary.’ Its opening-day turnout was the strongest for a horror release since ‘The Medium’ in 2021, and it also surpassed the 76,003 opening-day audience reported for ‘Project Hail Mary.’ Audience response has remained positive, with ‘Salmokji’ posting a 91% score on CGV’s Egg Index, a rating based on verified viewers. ‘Salmokji’ is now playing in theaters nationwide.* This article has been translated by AI. 2026-04-09 08:54:15 -
BTS Launches 'ARIRANG' World Tour in Goyang, Set for 85 Shows in 34 Cities BTS opens its new world tour, “ARIRANG,” on April 9 at the main stadium of Goyang Sports Complex in Gyeonggi Province. According to agency BIGHIT MUSIC, the group will perform in Goyang on April 9, 11 and 12, then head to Japan, the United States, Germany, France, Canada, Peru, Chile, Thailand and other stops, meeting fans across 34 cities in 85 shows. The tour is built around stadiums and large domes and will feature a 360-degree open stage designed to deepen audience immersion. Demand has remained strong. Forty-six shows, including dates in Goyang and Tokyo as well as North America and Europe, have already sold out. Global concert promoter Live Nation said about 2.4 million tickets have been sold for the 41 North American and European shows alone. BTS is expected to perform songs from its fifth full-length album, “ARIRANG,” along with earlier hits. The album has continued its run after topping the Billboard 200 main albums chart for a second straight week. Member Jimin wrote on the fan platform Weverse, urging fans to dress warmly and adding, “We’ll prepare hard.”* This article has been translated by AI. 2026-04-09 08:00:15 -
KickFlip’s ‘My First Kick’ Tops Hanteo and Circle Daily Album Charts JYP Entertainment boy band KickFlip posted strong results with its new release. The group returned on April 6 at 6 p.m. with its fourth mini album, ‘My First Kick,’ and the title track, ‘I Want to Stand Out.’ The album centers on youth facing first-time challenges and an ongoing first-love story. ‘My First Kick’ ranked No. 1 on Hanteo Chart’s daily album chart and Circle Chart’s daily retail album chart for April 6. It also appeared on iTunes K-pop album charts in several overseas markets, including Denmark, Canada, Singapore, Malaysia and the United States. The title track, ‘I Want to Stand Out,’ includes lyrics and composition credits for leader Gyehun. The song’s lyrics portray an unhesitating rush toward a first love, matching the group’s upbeat energy. On release day, it rose to No. 1 on Bugs’ real-time chart, and all tracks from the album entered the rankings. On the day of its comeback, KickFlip performed on Mnet M2’s ‘Annoying Comeback Show From Start to Finish’ at 7 p.m., staging the pre-release song ‘Twenty,’ B-side tracks ‘Reverse’ and ‘My Direction,’ and the title track. At 8 p.m., the group held an in-person fan showcase at YES24 Live Hall in Seoul’s Gwangjin District. The mini album ‘My First Kick’ and the title track are available on major music streaming platforms. A pop-up store marking the release will run through April 13 at LCDC SEOUL in Seoul’s Seongdong District.* This article has been translated by AI. 2026-04-08 17:24:17 -
Spy film 'Humint' rebounds on Netflix after box-office flop SEOUL, April 8 (AJP) - Director Ryoo Seung-wan's latest film "Humint" claimed the top spot on Netflix's chart for non-English movies, just a week after becoming available on the global platform, following its theatrical flop in February. According to Netflix's ranking site Tudum, the spy film garnered 11 million cumulative views in about a week after it began streaming last Wednesday, securing the top spot among non-English films. The 119-minute film also took the top spot in more than a dozen countries and ranked in the top 10 in 67 countries worldwide. "Humint" starring Park Hae-joon, Park Jung-min, Shin Se-kyung, and Zo In-sung revolves around a South Korean intelligence agent who hunts a drug ring in Russia and becomes entangled with a North Korean spy, pulling both into danger and hidden secrets. First released in theaters on Feb. 11, the film attracted a mere 1.98 million moviegoers, well below the estimated 4 million needed to break even. 2026-04-08 16:58:15 -
CRAVITY to Return April 29 With Eighth Mini Album 'ReDeFINE' CRAVITY has announced its return with a story-film video. Starship Entertainment said it posted the video on the group’s official social media accounts on April 7 and confirmed that CRAVITY’s eighth mini album, “ReDeFINE,” will be released April 29 at 6 p.m. The video opens like a strange, dreamlike fairy tale. It centers on a circular shape that appears in the sky, with witnesses insisting it looks different to each of them, adding to the mystery. The narrative then shifts to a cycle of disappearance and rebirth and a longing for permanence, teasing the album’s concept. Rendered in a surreal, storybook painting style, the clip pairs mythlike imagery with heavy, enigmatic music. Near the end, a close-up shot inside a snake’s mouth appears, followed by the album title and release schedule. CRAVITY last year released its second full-length album, “Dare to Crave,” and an epilogue album, expanding its musical range and storyline. All members took part in writing and composing, and the title track “SET NET G0?!” earned two music show wins. The group also held a solo concert at the Handball Gymnasium for the first time since debut, marking its fifth year. The group’s momentum carried into awards, including the performance male group category at the 2024 Super Sound Festival, the Best Performance Award at the 34th Seoul Music Awards, the K World Dream Best Performance Award at the 2025 K World Dream Awards, and the AAA Icon Singer honor at the 10th anniversary Asia Artist Awards. More recently, CRAVITY wrapped its “2026 CRAVITY FAN CONCERT VITY FESTA” and continued overseas activity with the release of its third Japanese single, “BLAST OUT.” CRAVITY will release “ReDeFINE” on April 29 and begin full-scale promotions. Additional content will be rolled out through the group’s official social media channels. * This article has been translated by AI. 2026-04-08 16:27:16 -
Netflix Film 'Humint' Tops Global Top 10 Movies List The film 'Humint' has surged to No. 1 on Netflix’s Global Top 10 list for non-English movies soon after its release, extending its strong run. According to Netflix’s Tudum Top 10 website on Tuesday, 'Humint' logged 11 million views for the week measured, ranking first in the non-English film category. The result came within five days of its April 1 release. It also outperformed the No. 1 title in Netflix’s English-language film category over the same period, making it the top-performing movie overall on the platform’s weekly chart. The film ranked No. 1 in 14 countries, including South Korea, Taiwan, Romania, Morocco, Vietnam, Saudi Arabia, Singapore, Qatar, Kenya, Kuwait, the Philippines and Hong Kong, and appeared in the Top 10 lists in 67 countries worldwide. International reviews have followed. The South China Morning Post said the film delivers “nonstop action without a break,” highlighting the genre payoff in the latter part. Users on IMDb and Rotten Tomatoes also praised its balance of action and emotion and the tension typical of spy thrillers. The performance suggests the film’s genre appeal has resonated with viewers beyond South Korea’s theaters, where it was released before arriving on Netflix. Set in Vladivostok, portrayed as a place where secrets and truths are buried in an icy sea, 'Humint' follows characters with different aims as they collide. The film is directed by Ryoo Seung-wan and stars Jo In-sung, Park Jeong-min, Park Hae-joon and Shin Se-kyung.* This article has been translated by AI. 2026-04-08 15:03:07
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Review: ‘Salmokji’ turns a reservoir into the engine of fear "It feels romantic. The lighting, the temperature, the humidity ..." a guest on a variety show once said. The point was that place, weather and even how you feel can combine to create an atmosphere. Movies work the same way: your mood and experience can become part of how you judge what you see. In that spirit, "Choi’s Review" introduces films through the writer’s perspective, in a more relaxed, everyday voice. <Editor’s note> In some films, a location does not stay in the background. It changes the characters’ rhythm and becomes a force that drives the story. That is the case in “Salmokji,” where the reservoir that gives the film its title functions less as a setting than as the narrative’s anchor. On a weekend morning, producers at the road-view service company Onroad Media are urgently called in after an unidentified figure appears on a road-view image of the rumor-filled reservoir known as Salmokji. PD Han Su-in (Kim Hye-yoon) is ordered to reshoot the footage that day and quickly assembles a team to head to the site. At the reservoir, junior PD Seong-bin (Yoon Jae-chan), PD Se-jeong (Jang Da-a), who runs a “horror exploration” channel, and filming-company head Gyeong-tae (Kim Young-sung) and his younger brother Gyeong-jun (Oh Dong-min) step into an uneasy tension created by the place itself. Once filming begins, their missing senior, Gyo-sik (Kim Jun-han), emerges from the fog, and a series of hard-to-explain events follows. Su-in’s ex-boyfriend, Gi-tae (Lee Jong-won), heads to Salmokji to try to save them, but the situation spirals into confusion and fear. The film builds the reservoir into an active presence, not a mere backdrop. Salmokji steadily unsettles the characters’ senses and even redirects their gaze, making the fear feel physical. Rather than simply recycling familiar ghost-story imagery, the movie reshapes it into the sensation of being pulled under water. Designed elements — a grove of large willows, oddly stacked stone towers and tangled aquatic plants — heighten the reservoir’s texture. The mise-en-scene works to draw viewers downward, as if the space itself is pushing the characters forward. Director Lee Sang-min also translates that space into a contemporary experience. Equipment such as a 360-degree panorama camera, motion detectors and a ghost box is used not as decoration but as a way to make an unseen presence feel immediate. Handheld camerawork, off-kilter framing, fog and the waterline as a boundary build pressure, while jump scares release it with precision. Sound design amplifies stillness, water and small movements, tightening the film’s grip. For that reason, “Salmokji” appears best suited to premium formats rather than standard screenings. The staging suggests an eye toward ScreenX and 4DX, where expanded visuals and physical vibration can turn the audience from observers into participants. The ensemble is a strength. Kim holds the film’s center with a sharp, restrained presence. Lee, introduced in earnest after the midpoint, blends naturally into the story and raises tension. Kim deepens the mystery and chill, while Jang and Yoon help keep the pacing alive. Kim Young-sung and Oh, as the Gyeong-tae brothers, stand out by giving potentially functional roles a sense of everyday realism that reinforces the reservoir’s grounded feel. “Salmokji” aims for more than startle effects, pushing viewers to feel what it means to be held by a place. By layering fiction onto a real reservoir and placing the source of fear in the location itself, it blends classic horror mood with contemporary technique. The film opens in theaters April 8. It runs 95 minutes and is rated for ages 15 and older.* This article has been translated by AI. 2026-04-08 14:09:26