South Korean Cinema

The lives of Korean women as seen through the eyes of female directors

By Matt Turner

This year’s LKFF offered a refreshing counterpoint to the masculine narratives that continue to dominate Korean cinema.

Train to Busan

By Mike Tsenti

The Korean smash hit in which a battle against zombie hoards takes place on a commuter train.

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How Train to Busan channels the social panic of Snowpiercer

By Katherine McLaughlin

The end of the world has a familiar theme in these train-based South Korean allegories.

Right Now, Wrong Then

By Matthew Eng

The latest from South Korea’s Hong Sang-soo is a romance so lovely it needs to be told twice.

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The vengeful woman and the changing face of Asian horror cinema

By Amandas Ong

Will this enduring trope become obsolete as we move towards a less gendered worldview?

Nobody’s Daughter Hae-Won

By Vadim Rizov

One of South Korea’s great directors finally has a film released in UK cinemas.

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Stoker

By Adam Woodward

Operatic style can’t paste over the meagre, far-fetched substance in Oldboy director Park Chan-wook’s English-language debut.

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Mother

By Jonathan Crocker

Bong Joon-ho’s new movie is an elusive genre hyphenate: horror-comedy-mystery-thriller.

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Thirst

By Jonathan Crocker

It’s got problems, sure. But once again, Park delivers something dark, witty and original.

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I’m A Cyborg, But That’s OK

By Matt Bochenski

Park Chan-wook is fast becoming Asia’s answer to David Fincher.

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Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

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