South Korean cinema is known for violent thrillers with themes of revenge like Bedevilled, I Saw the Devil (2010), and The Vengeance Trilogy.
Films such as A Devilish Homicide (1965) and The Hole (1997 film) cast a murderous or cruel mother-in-law against the protagonist. The hierarchical domestic status a man's mother has and the often strained relationship with her daughter-in-laws in Korea is also used as a means of creating female villains in media. Instead she becomes trapped between the two worlds and causes horrific phenomena. Another belief is that when a woman dies before she gets to enjoy the pleasures of marriage and having children, she will not be able to move on to the "other side". In the past women have been oppressed and ignored for so long that the horrific rage and vengeance we see in the films have been brought upon by the many years of repression. The woman's vengeance is a thing to be feared, thus becoming the object of horror. Her deep feeling of resentment is cold enough to freeze the hot air that occurs during those months. The expression, "When a woman is full of resentment, she will bring frost in May and June" may offer some explanation for the popularity of the female ghost that is often featured in Korean horror films. Train to Busan (2016) and The Wailing (2016) are rumored to currently have remakes in talks for production. Several Korean horror films have been adapted into English-language Hollywood films such as Oldboy (2003), Into the Mirror (2003), and A Tale of Two Sisters (2003). The horror and thriller genres are cited as gaining international attention to South Korean Cinema.
Modern South Korean horror films are typically distinguished by stylish directing, themes of social commentary, and genre blending.
Korean horror features many of the same motifs, themes, and imagery as Japanese horror. Many of the Korean horror films tend to focus on the suffering and the anguish of characters rather than focus on the explicit "blood and guts" aspect of horror. Korean horror films have been around since the early years of Korean cinema, however, it was not until the late 1990s that the genre began to experience a renewal.
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