Han Jun-hee
Han Jun-hee (Korean: 한준희; born May 26, 1984) is a South Korean film director and screenwriter renowned for his genre-blending works that explore themes of institutional violence, power dynamics, and social injustice.[1] His feature directorial debut, the neo-noir crime thriller Coin Locker Girl (2015, also known as Chinatown), premiered at the Cannes Film Festival's Semaine de la Critique and centers on a young woman navigating the criminal underworld after being abandoned as a baby.[1][2] Han followed this with the action-comedy Hit-and-Run Squad (2019), which satirizes traffic enforcement while delving into corruption and redemption among police officers.[3] Transitioning to television, Han directed the Netflix series D.P. (2021–2023), adapted from a webtoon and depicting the harsh realities of South Korea's military deserter pursuit unit, earning international acclaim for its unflinching portrayal of systemic abuse and human rights issues.) His involvement in the school action drama Weak Hero Class (2022–present), including creative oversight for Season 2 in 2025, redefines youth narratives by integrating suspense, satire, and emotional depth to address bullying, hierarchy, and resilience in confined educational environments. His recent creations include the 2025 series Tastefully Yours and the upcoming Netflix drama Road (2025).[3][4][5] Han's storytelling style characteristically balances heavy social commentary with humor and underdog protagonists, creating what has been termed a distinctive "Han Jun-hee genre" that resonates globally by prompting viewers to reflect on accountability and reform in oppressive structures.[3] Prior to his debut, he contributed to shorts like To Bite a Cigarette (2005) and assisted on features such as Ba:Bo (2008), building a foundation in the industry rooted in his early passion for narrative-driven cinema.[2]Early life and education
Personal background
Han Jun-hee was born on May 26, 1984, in Goheung, South Korea.[6][1] Some sources, however, report his birth year as 1985.[2] Public information on his family background remains limited, with no verified details on his parents or siblings available from reputable sources. His early life in rural Goheung likely exposed him to traditional Korean cultural elements that later influenced his storytelling approach, though specific personal experiences shaping his interest in cinema are not well-documented. This foundational period culminated in his decision to pursue formal training in film.Academic background
Han Jun-hee enrolled at Sejong University in the Department of Film Arts, where he pursued formal training in filmmaking.[7] During his time at the university, he was exposed to foundational courses in screenwriting, such as Practice of the Screenplay Writing 1 and 2, which introduced basics of script structure and genre analysis through practical creation and analysis.[8] He also engaged with directing techniques via classes like Film Directing, covering mise-en-scène, camera work, and production grammar, alongside hands-on workshops in film production that spanned scripting to editing.[8] Additionally, his studies included History of Korean Film, which examined the evolution of Korean cinema, its genres, and key historical works to provide context for contemporary filmmaking.[8] Han ultimately dropped out of Sejong University before completing his degree to pursue practical opportunities in the film industry, transitioning into roles that allowed hands-on experience beyond the academic setting.[7] Following his departure, he supplemented his formal education through self-directed short film projects, such as Scenario Guide and Smoking, which helped bridge his academic foundation to professional aspirations.[7]Career
Early career and shorts
Han Jun-hee launched his filmmaking career with the short film To Bite a Cigarette in 2005, which he directed and wrote while in his early twenties. This debut work marked his initial exploration of narrative storytelling, following a period of amateur short film production during high school through his school's film club.[2][9] Building on this foundation, Han transitioned into professional roles within the Korean film industry. In 2006, he contributed to the production support team for the romance film Once a Summer, gaining hands-on experience in set operations and coordination. By 2008, he advanced to assistant director on the comedy BA:BO (Miracle of Giving Fool), starring Cha Tae-hyun and Ha Ji-won, where he assisted in managing daily shoots, actor scheduling, and logistical tasks under the guidance of established directors. These positions allowed him to observe professional workflows and build relationships with industry veterans in Seoul's competitive cinema landscape.[2][9] The success of his 2005 short facilitated initial industry connections, including participation in over 30 film festivals such as Bucheon and Jeonju as a volunteer and staff member, which exposed him to diverse production practices and networking opportunities. In 2013, Han directed and wrote another short, Understanding Movies, a 25-minute thriller centered on a producer encountering a mysterious director with an unusual request, screened at events like the Seoul Independent Film Festival. This project honed his skills in blending suspense with character dynamics while he balanced it with emerging screenplay work.[2][10][9] Early in his career, Han faced significant challenges transitioning from student projects to paid professional roles amid South Korea's polarized and resource-limited film scene. Having dropped out of Sejong University's Film Arts Department after his first year to pursue practical experience, he navigated financial instability and the need for persistent festival involvement to secure assistant positions. These hurdles underscored the demands of breaking into an industry favoring commercial viability over experimental shorts.[9]Feature film debut and breakthrough
Han Jun-hee's entry into feature films began with his co-writing the screenplay for the 2013 thriller The Gifted Hands, directed by Kwon Ho-young.[11] The film follows detective Yang Chun-dong, who investigates the kidnapping and murder of a young girl in his jurisdiction and partners with Dong-su, a university student possessing psychometry—the ability to see past events by touching objects or people—to uncover clues and confront ethical challenges in their pursuit of justice.[11] Co-written with Lee Young-jong, the script drew on supernatural elements to explore procedural drama and moral dilemmas, marking Han's first major screenwriting credit after his assistant director roles on short films and Ba:Bo (2008).[12] The film received moderate attention upon release, earning a 6.4/10 rating on IMDb from over 1,300 users and praise for its tense pacing and genre blend, which helped establish Han's reputation as an emerging talent capable of crafting intricate thrillers.[13] This success positioned him for greater opportunities, transitioning him from behind-the-scenes work to leading creative roles.[14] Building on this foundation, Han made his directorial debut with Coin Locker Girl (2015, also known as Chinatown), a neo-noir crime thriller he also wrote, adapting the 1980 novel Coin Locker Babies by Ryū Murakami while infusing Korean societal critiques.[15] The story centers on Il-young, a baby abandoned in a subway coin locker in 1996 Seoul, who is rescued and raised by the ruthless loan shark boss known as "Mom" in Incheon's underground Chinatown, where she grows into a skilled enforcer in an organ-trading syndicate before a fateful encounter challenges her loyalty and survival instincts.[15] Han's writing-directing process emphasized themes of survival in a harsh world, drawing from real-life adoption scandals and urban isolation to create a female-centric narrative rare in Korean genre cinema.[12] Production faced hurdles typical for a debut director tackling a male-dominated thriller genre, including securing funding for a story led by complex women characters amid industry skepticism toward non-traditional crime tales.[16] The film premiered at the 2015 Cannes Film Festival's Semaine de la Critique (Directors' Fortnight), where it garnered critical acclaim for Han's assured visual style, innovative take on noir tropes, and exploration of gender dynamics through powerful female leads.[14] Han collaborated closely with veteran actress Kim Hye-soo, who portrayed the enigmatic Mom with a mix of maternal ferocity and vulnerability, and rising star Kim Go-eun as the resilient Il-young, whose chemistry drove the film's emotional core; both performances were highlighted in festival buzz for subverting gangster archetypes.[17] This breakthrough elevated Han's profile, earning him the Best New Director award at the 52nd Baeksang Arts Awards in 2016 and recognition for advancing female representation in Korean thrillers, solidifying him as a bold voice in the industry.[2]Television and recent works
Han Jun-hee's transition to television began with his directorial role in the 2019 action-comedy film Hit-and-Run Squad, which follows a specialized traffic police unit investigating hit-and-run cases amid internal corruption and high-speed chases. Starring Gong Hyo-jin and Ryu Jun-yeol, the film explores squad dynamics through a mix of humor and tension, grossing over 1 million admissions in its first six days and ultimately earning approximately $13.5 million at the South Korean box office.[18][19] In 2021, Han expanded into streaming television as director and co-writer for the Netflix series D.P., an adaptation of the webtoon D.P.: Real Story of the Deserters Project that depicts a military unit tasked with capturing deserters, highlighting institutional flaws and the psychological toll of mandatory service. The six-episode first season, released in August 2021, amassed 10 million global viewers within six days and topped Netflix's Top 10 chart in South Korea.[20][21] Han returned for the second season in 2023, directing additional episodes that continued to delve into themes of systemic abuse, maintaining the series' critical acclaim for its unflinching portrayal of military life. As creative director, Han contributed to Weak Hero Class 1 (2022) and Weak Hero Class 2 (2025), Netflix action-thriller series adapted from a webtoon that address school violence and bullying through intense interpersonal conflicts among high school students. His oversight in narrative direction, casting, and post-production helped the first season achieve 3.7 million global views in its debut week on Netflix, ranking fourth in the non-English TV category worldwide.[22][23] In 2025, Han served as creator and creative director for the romantic comedy series Tastefully Yours, a food-themed drama centered on a privileged chef heir clashing with a passionate rural restaurateur, blending culinary rivalry with personal growth. Premiering on Netflix in May, the limited series emphasized character-driven storytelling and received praise for its fresh take on romance amid professional ambitions.[24][25] Looking ahead, Han is set to direct the Netflix mystery thriller Road in 2026, reuniting with actor Son Suk-ku to explore cross-border intrigue in a high-stakes narrative. This project continues his pattern of genre-blending works that tackle socially charged issues.[26][5]Artistic style and themes
Core themes
Han Jun-hee's oeuvre consistently critiques institutional structures, exposing systemic injustices within Korean society's hierarchical frameworks. In his explorations of military and police systems, he highlights how rigid protocols perpetuate abuse and marginalization, portraying these institutions as microcosms of broader societal failures. For instance, his works delve into the dehumanizing effects of power imbalances, where authority figures exploit vulnerabilities, leading to cycles of violence and corruption that undermine justice. This institutional scrutiny underscores a universal struggle against entrenched hierarchies, emphasizing how such systems prioritize control over empathy.[3][4] Central to his narratives are marginalized protagonists, often female or underdog figures navigating oppressive environments with resilience and moral complexity. These characters embody survival instincts amid adversity, confronting power structures that seek to suppress them while grappling with ethical ambiguities in their quests for agency. Han portrays their journeys not as straightforward triumphs but as nuanced battles that reveal the human cost of societal exclusion, fostering viewer empathy for those on the fringes. His focus on such figures critiques gender and class dynamics in Korea, where resilience becomes both a shield and a burden.[12][3] Han weaves critiques of Korean societal flaws—such as pervasive violence, corruption, and fractured family dynamics—into his stories, rooting them in universal quests for equity. Violence emerges as a symptom of deeper corruptions within social bonds, including dysfunctional familial ties that mirror national issues like inequality and moral erosion. His narratives illuminate how these elements intersect, often amplifying personal traumas into collective indictments, yet they remain grounded in realistic portrayals that avoid sensationalism. By addressing these flaws, Han prompts reflection on justice and reform in contemporary Korea.[3][27] A distinctive element in Han's approach is the integration of humor, blending satire and levity to render heavy critiques more accessible without diluting their impact. This technique humanizes intense topics, using wry observations to expose absurdities in institutional and social hypocrisies, thereby engaging audiences emotionally while encouraging critical thought. His satirical edge transforms potential despair into a call for awareness, making profound social commentary resonate through lighter moments that highlight the ridiculousness of systemic failings.[3][4]Directorial techniques
Han Jun-hee's directorial techniques often involve genre blending, seamlessly integrating elements of neo-noir, thriller, comedy, and drama within confined settings to build tension and underscore systemic absurdities. In Coin Locker Girl (2015), he merges noir aesthetics with thriller dynamics in the isolated world of Incheon's Chinatown, where loan shark operations create a claustrophobic environment that amplifies survival struggles among female protagonists. Similarly, in Hit-and-Run Squad (2019), he combines action-crime procedural with comedic undertones in the bureaucratic confines of a traffic police unit, using the squad's limited jurisdiction to satirize institutional inefficiencies and corruption. His approach to D.P. (2021–2023) extends this by blending military drama with satirical humanism in the micro-society of army bases, where deserter hunts expose broader societal conflicts, allowing humor to punctuate heavy themes without diluting their impact.[12][28][20] Visually, Han employs suspenseful pacing and targeted close-ups to capture emotional micro-expressions, heightening psychological tension while employing satirical framing to expose the ridiculousness of oppressive systems. In D.P., he structures episodes as interconnected medium-length films, allowing deliberate pacing across 300 minutes to delve into characters' varied emotional states, with an opening sequence visually mapping a soldier's life journey from birth to enlistment for immediate immersion. For Hit-and-Run Squad, polished cinematography supports fast-paced chase sequences that contrast with slower investigative moments, using close shots on performers like Gong Hyo-jin to convey internal conflicts amid procedural chaos. In Coin Locker Girl, recurring motifs like knives—both literal weapons and symbolic tools—enhance the visual language, framing absurd power dynamics through stark, detached compositions that mirror the characters' cold survival instincts. These techniques prioritize emotional authenticity over spectacle, often drawing on close-ups to reveal subtle facial cues during high-stakes interactions in enclosed spaces.[20][28][12] Han’s screenwriting strengths lie in crafting non-linear narratives and character-driven plots that emphasize psychological depth, favoring internal monologues and relational arcs over overt action. Across his oeuvre, he constructs layered plotlines where personal backstories unfold gradually, as seen in D.P.'s episodic format, where each deserter's pursuit reveals fragmented histories that build toward themes of injustice through empathetic character studies. Under his creative direction, Weak Hero Class (2022–present) integrates non-chronological flashbacks within schoolyard conflicts to explore bullying's emotional toll, prioritizing dialogue that unveils mental vulnerabilities in confined classroom and hallway settings. This approach ensures narratives remain introspective, using satire to critique authority without resorting to simplistic resolutions.[3][29] His evolution from feature films to television demonstrates an adaptation of these techniques to episodic structures while preserving cinematic rigor, leveraging longer runtimes for sustained character immersion. Transitioning from the taut, self-contained narratives of Coin Locker Girl and Hit-and-Run Squad to the serialized format of D.P., Han maintains visual polish and pacing control by treating TV seasons as extended films, allowing deeper psychological exploration in confined environments like military units. This shift enables satirical elements to evolve organically across episodes, fostering audience reflection on institutional absurdities akin to those informing his thematic focus on injustice.[3][20][29]Filmography
Films
Han Jun-hee began his filmmaking career with the 2005 short film To Bite a Cigarette, which he directed.[2]| Year | Title | Role | Genre | Key Cast | Runtime | Plot Summary | Notes |
|---|---|---|---|---|---|---|---|
| 2013 | The Gifted Hands | Writer | Supernatural thriller | Kim Kang-woo, Lee Soo-kyung, Kim Bum | 108 min | A determined detective teams up with a woman who has psychometric abilities to probe a child's kidnapping and murder. | Grossed $3.4 million at the South Korean box office with 534,273 admissions.[13][30][11] |
| 2015 | Coin Locker Girl | Director, Writer | Crime thriller | Kim Hye-soo, Kim Go-eun, Park Bo-gum | 110 min | An infant abandoned in a subway locker is raised by a crime syndicate leader, navigating a harsh world of loyalty and betrayal. | Premiered at Cannes Film Festival's Semaine de la Critique; earned $8.4 million domestically with 1,472,106 admissions.[31][32][33] |
| 2019 | Hit-and-Run Squad | Director, Co-writer | Action crime | Gong Hyo-jin, Ryu Jun-yeol, Jo Jung-suk, Yum Jung-ah | 133 min | An elite police squad targets a powerful businessman responsible for deadly hit-and-run incidents fueled by his obsession with speed. | Collected $10.6 million at the South Korean box office.[34][35][36] |
Television series
Han Jun-hee's entry into television directing and creative oversight marked a shift from his film background, emphasizing adaptations of webtoons into serialized narratives that explore social issues like military duty and youth violence. His contributions include directing and writing for the military thriller D.P., as well as creative direction on school action dramas in the Weak Hero series.[4][37] D.P. (2021–2023), a Netflix original series adapted from a webtoon by Kim Bo-tong, consists of two seasons with six episodes each, where Han Jun-hee served as director and screenwriter for all episodes. The military thriller genre features lead actors Jung Hae-in as An Jun-ho, Koo Kyo-hwan as Park Bum-gu, and Kim Sung-kyun as Han Ho-yul, following a special unit's pursuit of army deserters amid ethical dilemmas in South Korea's conscription system. The series garnered international acclaim, topping Netflix charts in multiple countries and sparking discussions on military human rights. In 2022, Han Jun-hee acted as creative director for Weak Hero Class 1, an eight-episode Wavve and Netflix series based on the Naver webtoon by Seopass and Kim Jin-seok. This action-drama highlights school bullying, with leads Park Ji-hoon as the intelligent but physically frail Yeon Si-eun, Choi Hyun-wook as Ahn Su-ho, and Hong Kyung as Oh Beom-seok, centering on Si-eun's strategic battles against violent peers to protect his friends. Its global reception was strong, achieving high viewer ratings and praise for its raw portrayal of teen aggression.[38][3] Han Jun-hee continued in the creative director role for Weak Hero Class 2 (2025), a Netflix sequel with eight episodes adapting further webtoon arcs. The action-drama stars returning lead Park Ji-hoon alongside Ryeoun as Su-ho's successor and Lee Jun-young as a new antagonist, delving into escalating gang conflicts and themes of loyalty among high schoolers facing stronger threats. The season built on its predecessor's success, drawing 6.1 million global views in its first week (as of April 2025).[39] As creator and creative director, Han Jun-hee contributed to Tastefully Yours (2025), a 10-episode Netflix romantic comedy not based on a webtoon. Directed by Park Dan-hee, it features leads Kang Ha-neul as the uptight chef Han Beom-woo and Go Min-si as the free-spirited Mo Yeon-joo, who unexpectedly co-manage a Jeonju restaurant, blending culinary mishaps with budding romance and personal growth. The series received positive feedback for its lighthearted take on relationships, amassing significant streams in Asia.[40]Awards and honors
Film awards
Han Jun-hee's feature directorial debut, Coin Locker Girl (2015), earned his early acclaim as a filmmaker, with the thriller selected for the International Critics' Week sidebar at the 2015 Cannes Film Festival, where it had its world premiere.[14] The film's premiere highlighted Han's distinctive approach to genre storytelling, blending crime drama with character-driven narratives centered on female leads. This international exposure was followed by domestic recognition, including the film's win for Jury's Choice Award (Feature Film) at the 19th Bucheon International Fantastic Film Festival in July 2015.[41] In late 2015, Han received multiple nominations for his directorial and writing work on Coin Locker Girl. At the 52nd Grand Bell Awards, he was nominated for both Best New Director and Best Screenplay.[42] Similarly, at the 36th Blue Dragon Film Awards held on November 26, 2015, Han earned a nomination for Best New Director.[43] Performances under his direction also garnered honors; lead actress Kim Hye-soo won Best Actress at the 35th Korean Association of Film Critics Awards for her portrayal of the gangster boss "Mom."[42] Additionally, supporting actress Kim Go-eun received a Special Mention for her role at the same Bucheon festival.[42] The following year, Han's achievements were affirmed with a win for Best New Director (Film) at the 52nd Baeksang Arts Awards on June 3, 2016, solidifying his breakthrough status in South Korean cinema. This accolade underscored the critical and industry praise for Coin Locker Girl's innovative take on revenge and survival themes, directed and co-written by Han.| Year | Award Ceremony | Category | Result | Notes |
|---|---|---|---|---|
| 2015 | Cannes Film Festival (International Critics' Week) | Selection | Selected | World premiere of Coin Locker Girl[14] |
| 2015 | Bucheon International Fantastic Film Festival | Jury's Choice Award (Feature Film) | Won (Coin Locker Girl) | Film award tied to Han's direction[41] |
| 2015 | 52nd Grand Bell Awards | Best New Director | Nominated (Coin Locker Girl) | For directorial debut[42] |
| 2015 | 52nd Grand Bell Awards | Best Screenplay | Nominated (Coin Locker Girl) | Co-written by Han[42] |
| 2015 | 36th Blue Dragon Film Awards | Best New Director | Nominated (Coin Locker Girl) | Among five nominees[43] |
| 2015 | 35th Korean Association of Film Critics Awards | Best Actress | Won (Kim Hye-soo, Coin Locker Girl) | Performance under Han's direction[42] |
| 2016 | 52nd Baeksang Arts Awards | Best New Director (Film) | Won (Coin Locker Girl) | Key honor for debut feature |