A box-office milestone amid a political dispute
The South Korean film ‘Assassins’ passed 2 million admissions at about 2:35 p.m. on October 3, according to figures reported that day. The milestone came 11 days after the film opened on September 23, and despite a growing dispute over its portrayal of a politically sensitive historical event.
The film reached its first 1 million admissions in four days, then drew another million over the following week. That continued turnout suggests that controversy has not kept audiences away, though ticket sales alone do not reveal why viewers chose to see the film.
The film crossed the 2 million mark while calls to stop its screenings and punish those behind it were still being made.
A story built around unanswered questions
Directed by Hur Jin-ho, known for films including Christmas in August and One Fine Spring Day, ‘Assassins’ takes the 1974 shooting of Yuk Young-soo as its historical starting point. Yuk, the wife of then-President Park Chung-hee, was killed in the incident.
The film follows a detective and reporters as they investigate questions about the findings of the original inquiry. Its central premise is a dramatic search for answers; the film’s storyline should not, by itself, be treated as proof that any person or group was responsible for the attack.
Why the story is politically charged
The events depicted took place during a period when South Korea was under Park Chung-hee’s rule, making the subject closely tied to the country’s political history. A film that revisits an official investigation can therefore prompt debate not only about its storytelling, but also about how history is remembered and who gets to interpret it.
Some People Power Party politicians have argued that the movie portrays Park and others as having been behind the incident. That is their criticism of the film, not an established finding presented in the reported account.
Politicians call for screenings to stop
People Power Party lawmakers have demanded that the film’s screenings be suspended and that those responsible face legal consequences. Cho Eun-hee, the party’s secretary on the National Assembly’s Culture, Sports and Tourism Committee, argued on September 29 that Hur should be summoned as a witness or reference person during a parliamentary audit.
Lawyer and lawmaker Joo Jin-woo went further, calling for the film’s earnings to be recovered. These demands have turned a dispute about a movie’s historical interpretation into a broader political confrontation over the production and distribution of a work of art.
A call to remove a film from theaters is different from criticism of its content: the first seeks to restrict whether audiences can watch it, while the second challenges the claims or choices made in the work. The distinction has become central to the debate around ‘Assassins.’
Hur said that audiences and critics may disagree with a work, but argued that disagreement is not the same as saying the work should not exist.
Personal attacks disrupt the promotion schedule
The controversy also spilled over onto the actors. After personal attacks targeted cast members, the production company canceled theater appearances scheduled for October 3 through 5, citing safety concerns.
Appearances by Yoo Hae-jin and Lee Min-ho at the Busan International Film Festival were also called off: the actors were no longer due to attend the festival’s opening ceremony on October 6 or an outdoor event on October 7. Such events typically give actors and filmmakers a chance to meet audiences and promote a release, so their cancellation changes how the film can connect with moviegoers beyond the screen.
The reported account describes the attacks as a reason for the cancellations, but does not detail specific threats or identify every person involved. The decision illustrates how hostility directed at individuals can affect not just publicity plans, but also the ability of artists to appear safely in public.
The director’s response and the wider debate
In an interview published on September 30, Hur said he did not make the film on the assumption that Park was behind the attack. He said criticism of the film was acceptable, while stressing that opposing a work and arguing that it should not exist were fundamentally different positions.
A familiar tension between art and public history
Films based on real events often combine documented history with fictional scenes, characters, or interpretations. Viewers may disagree over where that line falls, especially when a story concerns political violence or powerful figures; clear discussion of what is established fact and what belongs to the film’s dramatic construction can help audiences assess those disagreements.
The immediate story is therefore twofold: ‘Assassins’ is drawing large audiences, and its release has become a flashpoint over historical interpretation, political pressure, and the safety of performers. Whether the controversy will change attendance or lead to further cancellations remains uncertain, but the film’s first 11 days have placed it firmly at the center of South Korea’s cultural and political conversation.
