Renowned director Lee Joon-ik, known for films like 'The King’s Man,' 'Dongju,' 'Byun San,' and 'Jasan Eobo,' has ventured into the unfamiliar territory of short-form drama. Expanding beyond traditional cinema, he is now exploring the trendy short-form format, seeking new ways to convey the essence of storytelling without being confined by the medium.
“Initially, the question of ‘why short-form?’ felt a bit restrictive to me. Whether it’s short-form, film, or series, I see myself as someone who tells the same story in different ways. The format—whether vertical or horizontal—is merely superficial; what matters is the content within it. Ultimately, 'Father's Home Cooking' encapsulates the fundamental unit of our lives: family, and the familiar emotions that arise from those relationships. It’s a story about an aging couple and their son, daughter-in-law, and granddaughter sharing genuine feelings over meals. The vertical format is just that—a format, not the essence,” he said.
'Father's Home Cooking' was not originally conceived as a short-form project. As the series and film he was preparing faced funding delays, Lee decided to continue telling his story through this new format.
“After many ups and downs, we arrived here. I had a series in preparation, but it was postponed due to funding issues, and I also wrote a film script that faced similar delays. In a situation where the reality didn’t align well, I chose to satisfy my storytelling hunger through short-form. It wasn’t because I preferred short-form or disliked traditional films or series; it was more about wanting to tell my story in any way I could,” he explained.
Encouragement from younger creators also played a role in his decision. With the film industry facing stagnation and increasing barriers for new creators, Lee saw short-form as a potential avenue for expression.
“There was some pressure. Young creators kept asking, ‘Why aren’t you doing this, director?’ Friends who used to be assistant directors are now at an age where they need to create their own works, but the industry is becoming more challenging for debuts. In this context, short-form can provide a platform where creators can take the lead in telling their stories, even with smaller budgets and scales. I believe it’s a good opportunity to express their abilities, and I wanted to support that trend,” he said.
For Lee, the choice of short-form was less about the format and more about the subject matter. He emphasized that the core of the project lies in what is being told through the short-form.
“Yes, the fact that I’m doing short-form is a primary choice, but what I’m doing it with is more important. I believe the ‘what’ is more significant than the ‘how.’ The current short-form market is still in its early stages, where provocative narratives hold competitive value. Just as Netflix initially thrived on sensational content before expanding into quality historical dramas and family stories, I believe the short-form must broaden its subject matter to attract a wider audience. That’s why I chose themes like ‘home cooking’ and family stories that resonate with older viewers,” he said.
Lee noted that modern family dramas have become scarce in theaters and on OTT platforms. He views 'Father's Home Cooking' as a way to transplant categories of stories that once thrived in films into this new ecosystem.
“These days, we don’t see many modern family dramas in theaters or on OTT platforms. Such stories used to exist in cinemas but have disappeared over time. From an investor's perspective, these themes are often deemed commercially unviable. Therefore, I thought of moving categories of stories that once existed in films into this new short-form ecosystem. It’s not that it was made for short-form; rather, I believe there’s a demand for such stories even in this format,” he said.
'Father's Home Cooking' began screening at the Bucheon International Fantastic Film Festival and has since moved to theatrical release. Although it was not initially planned for theaters, the enthusiastic audience response led to a solo screening opportunity at Lotte Cinema.
“At first, I intended it to be just a short-form project. However, the Bucheon International Fantastic Film Festival suggested creating a section for theatrical screening. They screened it in a vertical format on a horizontal screen. When preparing for the theatrical release, we initially planned to cut it into two-minute segments with blackout transitions. But as articles were published and reactions emerged, it led to the idea of trying it in theaters. I didn’t plan everything from the start; life doesn’t always go as planned. If it happened because of external pressures, it could also indicate a market demand,” he said.
Even when the 61 episodes of the short-form were compiled, the story structure kept the audience engaged. Lee believes the subtle twists within the narrative allowed for a longer viewing experience.
“I think the reason viewers could watch nearly two and a half hours without getting bored is that the gentle story contained twists. Each episode from 1 to 61 has its own arc, and even when they were stitched together, it’s quite challenging to keep the audience engaged for that long. People monitoring the process initially intended to watch in segments but ended up watching it all at once. While sensational stories can become tiresome and predictable, I believe we found a structure that keeps viewers engaged despite dealing with familiar relationships and narratives,” he said.
The vertical format also influenced how audiences experienced the story. In horizontal films, viewers can choose where to focus, but the vertical format compels them to confront a character’s face and emotions more directly.
“Exactly. In horizontal films, if there’s a two-shot, the audience can choose whom to look at. But in vertical format, that choice is forced. You have to look at this character now, and then that character next. This can reduce the differences in viewing positions and create a more uniform density of experience for the audience. If it were horizontal, the audience would feel like they were observing a family eating and talking, but in vertical, it feels like one person is speaking directly to them,” he explained.
The mobile viewing environment for short-form content also created a different experience. Lee realized through this project the differences in device and viewing conditions that he hadn’t noticed while editing.
“I didn’t realize it while editing. Watching on a monitor in the editing room is different from how viewers experience it in theaters or on their devices. Typically, short-form content is often watched around 10 or 11 PM, usually while lying in bed. When you think about it that way, the audience is almost face-to-face with the characters on screen. It’s not just eavesdropping on someone else’s story; it feels like you’re engaging with that person’s inner world. I felt that the differences in device format and viewing conditions can influence the experience,” he said.
The participation of actors also held significant meaning for Lee. Despite the lower budget, their involvement stemmed from a shared belief in the story's value.
“I see it as a form of dedication. This isn’t a high-budget project, and the conditions for the actors were likely far from what they usually receive. Yet, they participated because they found meaning and value in this story. Actors like Jung Jin-young, Lee Jung-eun, and Byun Yo-han each have their own names and positions, and I wonder if they would have participated if it were merely sensational content. I believe this outcome was possible because they agreed with the meaning and value embedded in 'Father's Home Cooking,'” he said.
Lee views the potential for growth in the short-form market positively. He cautioned against being trapped in domestic stereotypes that could cause the industry to miss out on the expanding global short-form market.
“If we remain confined to domestic stereotypes, we might miss the ongoing developments in the short-form market abroad. The short-form market is already growing significantly overseas, and I believe we need to create opportunities quickly in Korea. While it’s challenging for theatrical films to generate simultaneous revenue overseas, short-form platforms can expand beyond Korea to Asia, Japan, Taiwan, and more. If Netflix is the leader in global real-time streaming, we need to create possibilities for a new future market that can respond to that. I hope 'Father's Home Cooking' contributes to that trend in some way,” he said.
After experiencing the new stage of short-form, Lee Joon-ik is set to return to theatrical films. His next project, 'Firefly,' is in the process of filming and post-production, preparing to meet audiences soon.
“I plan to start in about three weeks and continue until the end of December, and after post-production, I think we might be able to release it next year. However, the schedule may change depending on production circumstances,” he said.
* This article has been translated by AI.
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