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Korean Box Office Leader ‘The Odyssey’ Continues Its Strong Run
The Korean science-fiction film “The Odyssey” remained the No. 1 movie at South Korean theaters for the second consecutive week, according to weekly box office data released by the Korean Film Council (KOFIC). The film attracted 754,752 moviegoers from Sept. 7 through Sept. 13, bringing its cumulative audience total to 10,782,702.
For American audiences, South Korea’s box office system is worth noting because moviegoing remains a major cultural activity in the country. Unlike markets where streaming platforms have rapidly replaced theatrical attendance, Korean theaters continue to serve as important spaces for both domestic productions and major Hollywood releases. KOFIC’s integrated ticketing network tracks nearly all theatrical admissions in the country, making its weekly rankings a key indicator of audience trends.
“The Odyssey” generated 8.94 billion won in weekly ticket sales, accounting for 51.8% of the market during the reporting period. The movie was screened 32,550 times across 1,648 screens, showing that theaters continued to dedicate significant space to the title even after its initial release period.
The film’s ability to maintain the top position reflects the strength of sustained audience interest rather than only opening-week momentum. In Korea’s competitive movie market, holding the No. 1 position for multiple weeks is often seen as a sign that a film has connected beyond early adopters and reached broader audiences.
New Releases Shake Up the Middle of the Chart
While “The Odyssey” dominated the top of the rankings, the second half of the chart showed movement as newer releases entered the competition. “Obsession” climbed to No. 2, drawing 289,720 viewers during the week and reaching a cumulative audience of 474,818. The film generated 3.08 billion won in weekly revenue, representing 17.9% of the market share.
“Obsession” played across 845 screens with 13,093 screenings during the week. Its rise by one position compared with the previous week suggests that the film gained momentum after its release rather than relying only on opening-day attention.
Meanwhile, “Spider-Man: Brand New Day” slipped one spot to No. 3. The latest entry in the long-running Spider-Man franchise recorded 138,398 weekly viewers, bringing its cumulative Korean audience to 8,930,412. The film earned 1.2 billion won during the week.
The performance of “Spider-Man: Brand New Day” highlights the continuing appeal of globally recognized franchises in South Korea. Hollywood superhero films have traditionally performed strongly among Korean moviegoers, who have embraced major international releases alongside local productions.
Korea’s Diverse Film Market Includes Local Stories and Global Franchises
The Korean box office rankings also demonstrate the diversity of the country’s moviegoing habits. “The Drama” ranked fourth with 48,845 weekly viewers and a cumulative audience of 53,631. The title jumped 19 places compared with the previous week, although KOFIC classified it differently from a standard new entry because advance screenings had already been counted.
“Gyeongju Travelogue” placed fifth with 35,367 weekly viewers and a total audience of 332,960. The film reflects the continuing interest in Korean-made stories that focus on local settings and cultural experiences. For international audiences familiar with Korean cinema through films such as “Parasite” and “Decision to Leave,” these domestic releases offer another window into Korean storytelling beyond the most globally marketed titles.
“Sing Again” maintained sixth place with 33,468 weekly viewers, while “Big Gwang” ranked seventh with 25,753 viewers during the week. “Big Gwang” reached a cumulative audience of 97,145.
Another notable performer was “Hope,” which moved up seven places to No. 8. The film recorded 25,225 weekly viewers and a cumulative audience of 4,566,205, showing continued interest from audiences even after its initial release period.
What Korea’s Box Office Trends Mean for the United States
For the U.S. film industry, Korea remains one of the most important entertainment markets in Asia. South Korea has long been viewed by Hollywood studios as a valuable testing ground for international releases because Korean audiences are highly engaged, digitally connected and willing to embrace both domestic and foreign films.
The continued success of “The Odyssey” illustrates the importance of theatrical performance in Korea at a time when American studios are also reassessing the balance between cinema releases and streaming distribution. Major Hollywood companies have increasingly focused on international box office results as part of broader global strategies, and South Korea’s audience behavior provides insight into how premium entertainment experiences continue to compete with at-home viewing.
Korean cinema has also become increasingly influential in the United States. The global success of Korean films, television dramas and music has expanded American awareness of Korean entertainment beyond niche audiences. The Oscar-winning success of “Parasite,” the popularity of Korean dramas on streaming platforms and the worldwide growth of K-pop have created a broader cultural connection between Korean creators and American consumers.
At the same time, the Korean market remains distinctive. Korean audiences often show strong support for local productions while also welcoming major international franchises. This combination creates a competitive environment where domestic filmmakers and global studios compete directly for audience attention.
For American distributors and entertainment companies, the lesson from Korea’s weekly rankings is that theatrical success depends not only on marketing power but also on cultural connection. Films that create strong audience interest can maintain momentum well beyond their opening week, while established franchises must continue to offer experiences that justify a theater visit.
Animation, Music and Specialty Releases Find Space in Korea’s Theaters
The lower portion of the weekly chart also reveals the variety of content attracting Korean moviegoers. “Inuyasha the Movie: Affections Touching Across Time” ranked ninth with 19,595 viewers. The title rose significantly compared with the previous week because advance screenings had already been included in earlier KOFIC calculations.
The appearance of the Japanese animated feature reflects the long-standing popularity of Japanese animation among Korean audiences. Anime has maintained a dedicated fan base in South Korea, similar to the growing anime market in the United States, where Japanese animation has expanded from a specialized audience into mainstream entertainment.
“Oasis: Don’t Look Back in Anger” entered the top 10 with 16,130 viewers and 180 million won in weekly revenue. The film accounted for 1% of the weekly market share.
The presence of smaller releases alongside major blockbusters shows that Korea’s theatrical market is not only driven by large commercial films. Specialty titles, international works and fan-focused releases continue to find audiences in a country with one of the world’s most active moviegoing cultures.
A Competitive Fall Season Ahead for Korean Theaters
The Sept. 7-13 KOFIC rankings present a snapshot of a Korean movie market balancing established hits, new releases and international competition. “The Odyssey” remains the clear leader, but the movement among other titles suggests that audience preferences can shift quickly as new films arrive.
For global observers, including American film companies and fans, Korea’s box office provides more than a list of winners and losers. It offers a look at changing entertainment habits in one of Asia’s most important cultural markets.
As Korean films continue to gain international attention and Hollywood studios compete for overseas audiences, the country’s weekly theater rankings will remain an important measure of what stories are connecting with audiences. The latest numbers show that despite the rise of streaming, the shared experience of watching films on the big screen remains a powerful part of Korean popular culture.
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