South Korean filmmaking has gained international acclaim in recent years, with projects like Parasite and Squid Game finding success all around the globe. In truth, the country's cinema has been creative and interesting for decades. While the best South Korean films tend to be dark or violent, leaning toward action and sci-fi, the country has also produced several terrific comedies. They run the gamut from satire to rom-coms, heartfelt comedy-dramas to laugh-out-loud social commentary.
Humor doesn't always translate well between languages, but the following movies do a good job of it, remaining accessible to international viewers. Whether it's a story about an aging grandmother who magically becomes young again or a conman pretending to be a superhero, these films bring a fresh perspective to the comedy genre. With this in mind, here are ten of the best South Korean comedy movies, ranked.
15 'The Dude in Me' (2019)
The Dude in Me is a charming (if slightly generic) riff on a body-swap premise. The story begins when a high school student, Dong-hyun (Jung Jin-young), accidentally falls from a rooftop and crashes into Pan-soo, an elite gangster. The bizarre accident results in the two swapping bodies. As the gangster navigates the challenges of high school life in Dong-hyun’s body, he discovers the softer side of himself and unexpectedly bonds with Dong-hyun's family and peers.
This flick might not reach the heights of Makoto Shinkai's Your Name (it's more on the level of Freaky Friday), but it's still a fun mix of quirky characters, heartfelt moments, and a little social commentary. On the acting side, Park Sung Woong is the clear highlight, and supporting actress Ra Mi-ran is a close second as Oh Mi-Sun, the gangster's first love. The third act is a little rushed, but the stars' charisma makes up for a lot.
14 '6/45' (2022)
6/45 is a bolder kind of comedy drawing on real-world issues regarding South Korea and North Korea. It centers on Chun-woo (Go Kyung-pyo), a South Korean soldier stationed near the Demilitarized Zone, who wins a massive lottery jackpot. However, his life turns upside down when the winning ticket accidentally drifts across the border into North Korea. A North Korean soldier, Yong-ho (Lee Yi-kyung), finds it and stakes his claim. This becomes the catalyst for an unlikely cross-border friendship.
The title refers to the lotto format: if you match 6 numbers out of 45, you claim the big prize. A lot of the jokes and references here seem very specific to a Korean audience, meaning that international viewers might not catch all of them, but anyone can appreciate the zaniness of the lead characters. The movie is at its best when leaning into their over-the-top antics. While 6/45 falls a little short of its potential, it's still commendable for finding the comedy in serious matters.
13 'Wonderful Nightmare' (2015)
Wonderful Nightmare is a fantastical romantic comedy about death, fate, personal growth, and celestial mixups. The main character is Yeon-woo (Uhm Jung-hwa), a high-powered lawyer who is accidentally killed by a heavenly error and offered a chance to return to life — but in a different body. She is sent to live as a devoted wife and mother for one month. Initially baffled and resistant to her new role, Yeon-woo gradually finds herself drawn into the warmth of family life, while also confronting some new challenges.
It's a pretty wacky premise, but the filmmakers succeed in mining it for both humor and one or two emotional moments. The film starts out quite goofy and comedic, but gets more dramatic as it rolls along, shifting its focus to character development. This all culminates in a surprisingly poignant third act. While the pacing is a bit slow, especially at the beginning, the tender moments and unexpected plot twists keep Wonderful Nightmare engaging.
12 'Castaway on the Moon' (2009)
This introspective and darkly comic movie revolves around one character, Kim Seong-geun (Jung Jae-young), a man who ends up stranded on a deserted island in the middle of the Han River after a failed suicide attempt. As he adapts to his new environment, he rediscovers the joys of simplicity and survival. He soon catches the attention of Kim Jung-yeon (Jung Ryeo-won), a reclusive, video game-addicted woman living in a nearby apartment who communicates with him using messages in bottles.
Castaway on the Moon is a fairly dramatic comedy that touches on many pertinent social issues in South Korea. For example, Seong-geun is drowning in debt and feels isolated, while Jung-yeon is nervous of the outside world and has escaped into a virtual world. In other words, the comedy is more subtle in this one, and the real draw here is the emotional depth. This approach earned the movie a ton of awards, particularly for star Jung Jae-young.
11 'Pawn' (2020)
Pawn follows Doo-Seok (Sung Dong-il) and Jong-bae (Kim Hee-won), two debt collectors who end up taking nine-year-old Seung-yi (Ha Ji-won) as collateral when her mother cannot repay a loan. Initially treating her as a burden, the collectors gradually form a familial bond with the spirited girl. When her mother is deported, they become her unlikely guardians. This premise might sound pretty dodgy, but Pawn actually becomes a moving story about the meaning of family.
There are many heartfelt moments in this one, as well as a lot of comedy in the clashing personalities among this oddball trio. This combination of humor and heart went down well with audiences in South Korea; Pawn grossed a solid $13.6m and quickly gained a reputation as a tearjerker. Much of the credit for this must go to Haw Ji-won, who does a lot to flesh out her character and make her compelling. The conclusion might stumble a little, but, overall, Pawn is solid.
10 'Scandal Makers' (2008)
Scandal Makers follows Nam Hyeon-soo (Cha Tae-hyun), a former teen idol turned popular radio DJ whose life is turned upside down when a young woman (Park Bo-young) shows up at his doorstep claiming to be his daughter, along with her son, his grandson (Wang Seok-hyeon). Hyeon-soo is forced to navigate the challenges of sudden fatherhood while trying to keep the scandal a secret from the public. As he adjusts to his unexpected role as a grandfather, comic situations arise, especially as he tries to
The film is a delightful mix of humor and heart, as Hyeon-soo's interactions with his daughter and grandson reveal his softer side. Plus, much of the comedy stems from his attempts to balance his public image with his newfound responsibilities. It's one of the better executions of the "reformed playboy turned reluctant parent" trope, anchored by a cool, charming lead performance from Cha. It all builds up to a lively musical finale.
9 'A Man Who Was Superman' (2008)
A Man Who Was Superman tells the story of a cynical documentary filmmaker named Song Soo-jung (Jun Ji-hyun), who encounters Lee Hyun-suk (Hwang Jung-min), a man claiming to be Superman. This Superman doesn’t have superpowers but insists on helping people in his own unique, sometimes comical ways. As Soo-jung films his antics, she learns that the man’s delusion of being Superman stems from a traumatic past, and what starts as a mockumentary slowly transforms into a touching story of hope and healing.
The movie mixes in elements of magical realism, alternating between goofy and poignant. Although it begins lighthearted, it gets more thoughtful and profound as it rolls along, becoming a commentary on modern South Korean society. Some of the third-act scenes get surprisingly emotional, too, with Hwang doing most of the heavy lifting. The film is also solidly written, with memorable lines like "Strength doesn't open big iron doors, but a small key."A Man Who Was Superman is currently not available to stream, rent, or purchase in the U.S.
Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?
Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
FIND YOUR FILM →
01
What kind of film experience do you actually want? The best movies don't just entertain — they leave something behind.
ASomething that pulls the rug out — that makes me think I'm watching one kind of film and then reveals I'm watching another entirely. BSomething overwhelming — funny, sad, absurd, and genuinely moving, all at once. CSomething grand and weighty — a film that makes me feel the full scale of what I'm watching. DSomething formally daring — a film that pushes what cinema can even do. ESomething lean and relentless — pure tension with no wasted frame.
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02
Which idea grabs you most in a film? Great films are driven by a central obsession. What's yours?
AClass, inequality, and what people are willing to do when desperation meets opportunity. BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart. CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back. DEgo, legacy, and the terror of becoming irrelevant while you're still alive to watch it happen. EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.
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03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
AGenre-twisting — I want it to start in one lane and migrate into something completely different. BMaximalist and genre-blending — comedy, action, drama, sci-fi, all in one ride. CEpic and non-linear — cutting between timelines, building a mosaic of cause and consequence. DA single unbroken flow — I want to feel like I'm living it in real time, no cuts to safety. ESpare and precise — every scene doing exactly what it needs to do and nothing more.
NEXT QUESTION →
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
AA system — invisible, structural, and almost impossible to fight because it has no single face. BThe self — the ways we sabotage, abandon, and fail the people we love most. CHistory — the unstoppable momentum of events that no single person can stop or redirect. DThe industry — the machinery of culture that chews up talent and spits out irrelevance. EPure, implacable evil — a force so certain of itself it becomes almost philosophical.
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05
What do you want from a film's ending? The final note is the one that lingers. What do you want it to sound like?
AShock and inevitability — a conclusion that recontextualises everything that came before it. BEarned emotion — I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess. CDevastation and grandeur — an ending that makes me sit in silence for a few minutes after. DAmbiguity — something that leaves enough open that I'm still thinking about it days later. EBleakness — an honest refusal to pretend the world is tidier than it actually is.
NEXT QUESTION →
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what's even possible.
AA gleaming modern city with a hidden underside — beauty masking rot, wealth masking desperation. BA collapsing suburban life that opens onto something infinite — the multiverse of a single ordinary person. CThe corridors of power and science at a world-historical turning point — where decisions echo for decades. DThe grimy, alive chaos of New York and Hollywood — fame as both destination and trap. EVast, indifferent landscape — desert and highway where violence arrives without warning or reason.
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07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
AProduction design and mise-en-scène — every frame composed to carry meaning beneath the surface. BEditing and tonal control — the ability to move between registers without losing the audience. CScore and sound design — music that becomes inseparable from the dread and awe of what you're watching. DCinematography as performance — the camera not recording events but participating in them. ESilence and restraint — what's left unsaid and unshown doing more work than any dialogue could.
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08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure. BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary. CA brilliant, tortured figure whose gifts and flaws are inseparable from each other. DA self-destructive artist whose ego is both their superpower and their undoing. EA quiet, principled person trying to make sense of a world that has stopped making sense.
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09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
AI love a slow build when I know the payoff is going to be seismic — patience for a devastating reveal. BGive me relentless momentum — I want to feel breathless and emotionally spent by the end. CEpic runtime doesn't scare me — if the material demands three hours, give me three hours. DI want it to feel propulsive even when nothing is technically happening — restless energy throughout. EDeliberate and unhurried — I want dread to accumulate in the spaces between the action.
NEXT QUESTION →
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
AUnsettled — like I've just seen something I can't fully explain but can't stop thinking about. BMoved and energised — like the film reminded me what actually matters and gave me something to hold onto. CHumbled — like I've been in the presence of something genuinely important and overwhelming. DExhilarated — like I've just seen cinema doing something it's never quite done before. EHaunted — like a cold, quiet dread that stays with me for days.
REVEAL MY FILM →
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho's Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it's ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels' Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn't want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it's about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan's Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it's about. Alejandro González Iñárritu's Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor's ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn't be possible. Michael Keaton's performance and Emmanuel Lubezki's restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers' No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
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8 'Miss Granny' (2014)
Image via CJ EntertainmentMiss Granny centers on Oh Mal-soon (Shim Eun-kyung), a 74-year-old woman who magically finds herself transformed into her 20-year-old self after visiting a mysterious photo studio. Now young again and adopting the name Oh Doo-ri, she decides to enjoy the life she never got to fully live, including pursuing her dream of becoming a singer. But as she navigates her new life, she must keep her identity a secret while rekindling her relationship with her family in unexpected ways.
Miss Granny combines comedy with a touching exploration of aging, family, and second chances. Like A Man Who Was Superman, it starts out silly but gets somber and deep. The quirky, clever premise and heartwarming narrative struck a chord with audiences, becoming a box office hit in South Korea (it grossed an impressive $58m against a budget of just $3.2m). It has since been the basis for several international remakes, with an American one currently in development.
7 'Going by the Book' (2007)
Going by the Book is an action comedy about Jeong Do-man (Jung Jae-young), an honest but overly diligent traffic cop who is tasked with playing the role of a bank robber in a police training exercise. What starts as a simple simulation quickly spirals out of control when Jeong decides to play his role with absolute seriousness, turning the exercise into a full-scale hostage crisis that feels all too real. His strict adherence to rules and procedures leads to chaos, with the police struggling to contain the situation.
The resulting heist movie is a satire of law enforcement and conformity. Packed with offbeat and unpredictable moments, the heist film stands out as a peculiar yet refreshing twist on the subgenre. It works thanks to Jeong's deadpan commitment to his role, highlighting the absurdity of bureaucracy and the unintended consequences of following rules to the letter. He's just as meticulous at robbing banks as he is at directing traffic.
6 'My Annoying Brother' (2016)
This comedy-drama explores the strained relationship between two brothers. Doo-young (Doh Kyung-soo), a talented judo athlete, loses his sight in a tragic accident, and his estranged older brother Doo-shik (Jo Jung-suk), is granted parole from prison to take care of him. The two brothers initially clash, but as they spend more time together, they begin to rebuild their connection, leading to moments of comedy and unexpected bonding.
Although there's humor here, My Annoying Brother becomes a full-on tearjerker by the third act. It hits powerfully on themes of family, redemption, and the healing power of love (even if it's a bit formulaic). The leads deliver strong performances, particularly Doh, a member of the boy band Exo (he even performs a song). Here, he's believable as a gifted athlete whose promising future is abruptly shattered by a life-changing disability. Doh's efforts earned him a number of awards in his home country, including Best New Actor.
English (US) ·