THE OLD WOMAN WITH THE KNIFE: From Reverence to Resonance – Global Rise of Korean Cinematic Emotion

The film’s initial surge was driven by high anticipation for Lee Hye-young’s character and public appearances. While viewership slightly tapered by the second week, strong word-of-mouth and media acclaim have helped stabilize its momentum, particularly among female viewers.

Main Characters and Narrative Roles

Character	Actor	Role	Narrative Function
Jogak	Lee Hye-young	Legendary female killer with a haunting past.	Represents endurance, fractured identity, and ultimate emotional shift.
To-woo	Kim Sung-cheol	Obsessive and sharp assassin on Jogak’s trail.	Antagonist who slowly transforms through conflict and understanding.
Mr. Kang	Yeon Woo-jin	Soft-spoken teacher with emotional resonance.	Serves as Jogak’s inner counterpoint, reintroducing warmth.
The Boss	Kim Mu-yeol	Controller of the assassin network.	Triggers existential and ethical collapse within the structure.

THE OLD WOMAN WITH THE KNIFE is a poetic action drama that explores emotional fracture with precision and cinematic lyricism.

Lee Hye-young’s kneeling gesture and Min Kyu-dong’s masterful direction leave a powerful impression on domestic and international audiences alike.

From a Berlinale standing ovation to confirmed global distribution, this film exemplifies the emotional reach of Korean cinema.

1. A Narrative Forged from Fracture

The film is more than a conventional action drama—it is a poetic meditation on damage and endurance. Director Min Kyu-dong weaves together genre elements with emotional nuance and social resonance. The protagonist, Jogak, is not simply a woman with a weapon, but someone in confrontation with an irreparable past. Lee Hye-young’s embodiment of this role goes beyond performance—it becomes presence.

Every stare, every silence she offers radiates like a ripple. Supporting actors Kim Sung-cheol and Yeon Woo-jin are not outshone; their contrasting energies surrounding Jogak intensify the dramatic tension. Adapted from Gu Byeong-mo’s novel, the film preserves its literary soul while being shaped for the screen. It’s a narrative that turns spectators into participants—an experience rather than a story. It dares to show the face of the wound we often ignore and urges us to look back.

Cast of The Old Woman with the Knife: Lee Hye-young as Hornclaw, Kim Sung-cheol as Tuu, Yeon Woo-jin as Dr. Kang

2. A Gesture of Truth: Lee Hye-young Kneels

During a stage greeting in Busan, Lee Hye-young knelt before the audience—not out of ritual, but in emotional vulnerability. Her action, mirrored by her co-stars and director, symbolized shared dedication. At 62, she conveyed emotional weight with her body. In that moment, cinema ceased being abstract—it became immediate and alive.

Her role wasn't simply acted, but lived. Jogak became not just a character but a reflection, a mirror for her personal truth. Her gaze did not act; it observed. The screen was no longer a boundary, but a bridge. That is why THE OLD WOMAN WITH THE KNIFE is not a film merely produced, but experienced. Her sincerity reached beyond the screen and into the audience's heart.

3. Korean Sensibility, Translated Worldwide

The film represents a milestone in Korean cinema’s emotional and aesthetic evolution. At its Berlinale premiere, critics called it "a gaze into the abyss," admiring its emotional layers more than its cinematic form. Its power lies in human complexity and the poetic treatment of pain.

Now confirmed for release across North America, Europe, Asia, and Latin America, the film proves that emotion is universal. A 60-something female assassin may seem unconventional, but in her, audiences recognize authenticity. Lee Hye-young becomes not just a performer, but a marker of Korean female narratives expanding. This film does not merely represent Korean culture; it interprets humanity through its emotional textures.

The Old Woman with the Knife of Berlin International Film Festival

 

4. Emotion Across Generations

Unexpectedly, the film resonates strongly with younger audiences in their 20s and 30s. The silence of Jogak, the obsession of To-woo, and the soft disruption of Mr. Kang all echo the disquiet, anger, and relational fractures experienced by many today. It speaks their language without mimicry.

Its sophisticated visuals and emotional authenticity mirror a generation seeking “truth.” As word-of-mouth spread, sincerity anchored its appeal. THE OLD WOMAN WITH THE KNIFE does not claim to represent the era, but it captures its psychological undercurrent. It becomes a shared space for multiple generations to reflect and respond, together and individually.

5. Beyond Action, into Literary Depth

Although it dresses as an action drama, its rhythm stems from silence, not violence. Director Min favors pauses over explosions, reflection over spectacle. In these spaces, audiences find personal meaning. Adapted from literature, the film merges metaphor and symbol, pain and reconciliation.

Jogak and To-woo are not mere opposites—they are mirrors. Their relationship transcends plot, digging into human structure. The film’s slow tempo encourages reflection, turning its viewing into an emotional experience. Hence, the thrill comes not from combat, but from felt resonance. Its beauty lies in restraint, and its power in sincerity.

6. The Meaning of Watching Now

Watching THE OLD WOMAN WITH THE KNIFE now is not just attending a screening. It is a moment of self-confrontation—seeing in broken pieces a familiar face. The cinema becomes a room not just for story, but for feeling. It asks: what have we lost, and what are we ready to reclaim?

Audiences become co-authors. Each viewing completes the narrative anew. International viewers aren’t witnessing something foreign, but rediscovering emotional truths of their own. This is why the film resonates—it’s not a message crossing borders, but a sincerity crossing hearts. The film lives not on the screen, but within time, memory, and the viewer.

Box Office & Audience Profile

Category	Data	Remarks
Cumulative Admissions	Approx. 380,000	As of May 8, 2025
Opening Weekend Admissions	Approx. 150,000	April 30 – May 5
Weekday Daily Average	18,000 – 22,000	First week
Week 2 Daily Average	Below 7,000	Declining trend
Key Audience Age	20s–30s (57%)	MZ Generation
Female Audience	62%	High emotional engagement
CGV Golden Egg Index	91%	Viewer satisfaction
Naver Score	8.72	Audience rating
International Release	12+ countries	North/South America, Europe, Asia