Netflix’s Tokyo Showcase Spotlights Korean Animation Push
The ambitious Netflix strategy for Korean content was central to the current APAC showcase of the streamer in Tokyo, where managers and filmmakers offered a profound look at their upcoming slates, with a special emphasis on ‘Lost in Starlight’, the first Korean animation function of the platform.
The milestone of animation, which arrives in Q2, is an important step in the growing Korean content universe of Netflix, which continues to build on the global success of hits such as ‘revelations’, directed by Yeon Sang-Ho, who came up with the non-English film graph of Netflix for two weeks.
Vincent Taewon Kim, director of content for Netflix Korea, spoke about the strategic focus of the company on “diversifying the genre, as well as improving the quality and entertainment value” for his seven-film 2025 Slate, which includes animation, romance, sci-fi and promotions.
Director Han Ji-Won, who almost came from Seoul, described the meticulous five-year journey behind “Lost in Starlight”, who tells the story of “an emotional scars Astronaut, chosen for a Mars-Ton, [who] falls for a discouraged musician who is struggling with Trekschok. “The film contains speech performance by Kim Tae-Ri and Hong Kyung.
“I have always loved animation films that related to space and love,” Han explained how the project started as a short film before he developed into a function with Production Company Climax Studio. “The subject of dream and also romance and love, I realize that these things are all very closely connected.”
When making Seoul around 2050, Han described her approach to world construction that balances futurism with nostalgia. “We try to make a future version of those elements, such as the film ‘Haar’, the things that are crucial for our story,” she said. Han next to each other high-tech elements such as holograms against retro environments such as Euljiro, a neighborhood known for its nostalgic atmosphere.
Han expressed optimism about the worldwide potential of Korean animation: “Korea has received this pool of talent … We have many makers who are really good at telling stories. I think Korea is a country that has everything to make great animation work.”
The showcase also contained directors Kim Tae-Joon and Namkoong Sun who discussed their Q3 releases. Kim’s “Wall to Wall” (also known as “84 square meters”) investigates housing anxiety that are central to contemporary Korean society through the story of Woo-Sung, whose dream apartment is a nightmare because of mysterious sounds.
“More than 80% of the Korean homes are in apartments. And 84 square meters is actually the most common size,” Kim explained. “Apartment complexes are not only a place where people live, but it is really a place where different interests and desires of people in conflict and confrontation come.”
Kim, whose previous Netflix -thriller “unlocked” reached the top 10 in 46 countries, got from personal experience with sound complaints for his concept. The film plays Kang HA-Neul, Yeom Hye-Ran and SEO Hyun-Woo.
In the meantime, Namkoong’s “Love Untangledled” offers a refreshing pace change with his busan-set Youth romanticism from 1998 with “the most sought after young actors in Korea,” including Gong Myoung and Shin Eun-Sooo. The story follows a curly high school that is determined to confess her feelings about her crush.
“Korean teenagers probably have their own dilemmas,” thought Namkoong. “The world is changing so quickly and I think the teenagers are very difficult to navigate through their future. We need more joy, we need more love, we need more luck.”
Vincent Kim also teased three extra films that closed 2025: “Mantis”, a spider -off of the hit “Kill Boksoon”; “Good news”, a hijacking drama from the 70s; and “Great Flood”, a “sci-fi ramp blockbuster movie.”
The showcase culminated with a very first global screening of “Lost in Starlight” for Tokyo-Eenigen, which indicates Netflix’s confidence in his growing Korean genre portfolio.
