In the bustling city of Busan, South Korea, a cinematic transformation is underway. Miramax's recent acquisition of the U.S. theatrical rights for "My Wife is a Gangster" for $150,000, and the remake rights for a staggering $950,000, underscores the growing international interest in Korean cinema. Despite its impressive local box office performance, top-notch production values, and a wealth of charismatic actors, Korean cinema remains largely unknown outside its 45 million strong audience.

The past year has seen a surge in box office records, with new benchmarks set so high that what was once considered a major success is now seen as mediocre. Mark Yoon, the head of international sales and acquisitions at CJ Entertainment, expresses concern: "Our historical epic, 'Musa,' drew over 2 million admissions, but it's almost seen as a failure now."

Korean films dominate the top five slots for the year, led by the gangster epic "Friend" with 8 million admissions ($45 million in box office), followed by "My Wife is a Gangster" (5.2 million), "My Sassy Girl" (4.8 million), "Kick the Moon" (4.3 million), and "Hi, Dharma" (2.6 million). Even Hollywood blockbusters like "Shrek," "Pearl Harbor," and "The Mummy Returns" managed only around 2.3 million admissions each this summer.

While "Harry Potter," "Monsters, Inc.," and "The Lord of the Rings" are expected to boost Hollywood's presence in December, Korean films are projected to maintain a 45% market share, up from 25% in 1998, 39% in 1999, and 35% last year. This is remarkable for an industry that produces just 55 features annually.

Upcoming releases include "Volcano High" (December 12), "Sympathy for Mr. Vengeance" (January, directed by Park Chan-wook), "My Princess Mari" (January), "2009 Lost Memories" (February 8), "No Blood No Tears" (February 23), and "Public Enemy" (February).

Ironically, this domestic success, akin to other Asian film renaissances, remains largely unappreciated abroad. "Korea Fever," which has swept East Asia in recent years, has helped sell movies featuring popular singers or TV stars, but its impact is limited.

Japan remains the most fertile export market, while Hong Kong, bombarded with 17 Korean films this year, has had mixed results. Singapore and Malaysia favor Korean TV dramas, and Taiwan, where even "Friend" flopped, presents a challenge.

Sales to the West remain tough, with France being one of the more receptive markets. Western buyers prefer arthouse titles and action movies, making comedies and romances harder to sell.

Korean cinema lacks a clear identity in the West, unlike Chinese cinema's association with martial arts and peasant dramas. With no internationally recognized actor or director, talk of going "international" seems premature. However, collaborations with talent from mainland China, Hong Kong, and Japan aim to broaden marketability.

With budgets of $4-5 million still considered substantial and local funding readily available, the industry can afford to wait. Successful films can easily recoup their costs locally. Catherine Park, CJ's sales manager, notes, "We're more solidly structured and better organized than Hong Kong's early '80s rise."

Korean cinema is known for its strong concepts and well-developed characters, offering a valuable commodity for Hollywood, which often struggles with original ideas. From "My Wife is a Gangster" to "Hi, Dharma," the innovative storytelling and unique premises are attracting international attention and investment.

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