Netflix’s Korean cult-horror thriller “Hellbound” returned for its much anticipated second season with a world premiere at Busan International Film Festival, showcasing intense performances from the new cast members, particularly Moon Geun-young.
Created by Yeon Sang-ho, known for zombie flick “Train to Busan”, the first season of “Hellbound” achieved critical and commercial success with its portrayal of a world where supernatural beings suddenly appear to tell people of their impending death, followed by monstrous entities that drag the condemned to hell.
Yeon, whose early works included a dark animated film about a Korean cult organisation, elevates the dystopian thriller into a more philosophical realm in its second season, while still delivering the spectacle of creatures, violence, and collective religious hysteria.
“I believe that the concept of disaster in the work ‘Hellbound’ refers more to a mental or ideological catastrophe than to a physical disaster,” director Yeon said at a BIFF event late Friday.
The show had to let go of actor Yoo Ah-in, who played a key character in season one, after he was charged with illegal drug use. Yoo was subsequently found guilty.
Kim Sung-cheol takes on the role of the charismatic leader of a cult that arose amid the horrific supernatural deaths that triggered a wave of social media frenzy, delivering a convincing portrayal of this intricate character.
But the most captivating — and gut-wrenching — performance of the second season arguably belongs to Moon Geun-young, a much beloved former teen actress in South Korea, who portrays a young wife gradually transforming into a deranged cult fanatic.
Yeon said he decided to cast Moon after seeing her in a 2021 TV drama where she portrayed a tormented wife who succumbs to alcoholism while caring for her alcoholic husband.
Moon did not attend this year’s BIFF, but fellow cast member Kim Hyun-joo said: “Moon Geun-young made a tremendous contribution. I already knew (she was immensely talented), but I was pleasantly surprised and delighted by her performance.”
‘Living in hell’
The series was featured at BIFF in its big-screen theatres, even as the festival faces criticism from cinephiles for selecting a streaming title, “Uprising”, also from Neflix, as its opening film this year.
Cineastes blame OTT streaming platforms for some of the challenges encountered by the traditional theatre market and independent filmmakers.
“BIFF has been a key player in showcasing fresh Asian films by young, emerging talents in the region, and this has been their priority,” Kay Heeyoung Kim, owner of the film studio K-Dragon, told AFP.
“But the lines between traditional independent cinema and big-budget streaming titles have blurred at this year’s festival, which is unfortunate to see.”
Yeon, who began his career as an independent animated filmmaker, along with his work “Hellbound,” is credited with increasing the global visibility of South Korean content in recent years, alongside works like “Squid Game” and “Pachinko.”
His works have explored human struggles, apocalyptic worlds, and religion, and Yeon brings the theme of resurrection to the second season of “Hellbound,” as the “sinners” begin to return after their visits to hell.
“I think hell is not just an afterlife destination,” said actress Kim about the second season’s themes.
“Depending on your choices in life, you can find yourself living in hell while still being alive.”
