Korean cinema’s most notable phenomenon in 2010 was various tests experimented on genre films. Significant changes had occurred to popular genres and genre film directors too showed certain change in their way of thinking. If genre is where desires collide and interact in excuse of public expectations, such change has quite an implication on dynamics of future genres. In the midst of overall market recession, preferring genre films has become more evident leading to diversification and experiments of genres.

OKI'S MOVIE is HONG Sangsoo's eleventh feature film and might be a cinematic adventure repeating the theme of his own; difference and repetition. Of course, his body of works can be considered as parts of an immense world or structure made up of difference and repetition, and as such, OKI'S MOVIE surely belongs to this world.

Films by Korea's best-known auteurs tend to come in bunches. Specifically, in May: the publicity and fame associated with a premiere at the Cannes Film Festival has created a somewhat skewed production schedule whereby all the year's highest-profile films emrge in early spring. This year is no exception: Cannes presents new films by LEE Chang-dong (Poetry, screening in competition), IM Sang-soo (The Housemaid, also in competition) and HONG Sangsoo (Hahaha, in Un Certain Regard).