Eight years after his last film, Burning, director Lee Chang Dong has returned with Possible Love, a cinematic work featuring an impressive cast of acclaimed actors, including Jeon Do Yeon, Sul Kyung Gu, Jo In Sung, and Cho Yeo Jeong. Running for 164 minutes, the film received a 19+ rating in South Korea and premiered globally on Netflix on November 6 with an 18+ classification. Beyond the renowned filmmaker behind the camera, the movie has also sparked curiosity by bringing together two actresses once regarded as icons of provocative cinema in South Korea.
Jeon Do Yeon once sent shockwaves through Korean cinema with The Housemaid (2010), a film featuring explicit intimate scenes that explored the desires and lust underlying the relationship between a housemaid and her wealthy employer. Meanwhile, Cho Yeo Jeong is a name that cannot be overlooked when discussing Korean films rated 19+, particularly The Concubine (2012). Her daring role in the historical film made her a major focus of media attention while demonstrating her ability to portray complex characters torn by psychological conflict. Neither actress is someone who relies solely on intimate scenes to attract attention. What makes them highly regarded is their ability to use boldness as an integral part of their performances, serving the characters’ psychology and the story.
In Possible Love, Jeon Do Yeon plays Mi Ok, a working-class woman struggling to cope with financial difficulties after her husband loses his job. Cho Yeo Jeong takes on the role of Ye Ji, a woman who enjoys a more comfortable lifestyle but also has her own emotional voids within her marriage. The two characters come from completely different worlds, but a documentary project about workers affected by a strike brings them closer together. What begin as seemingly ordinary encounters gradually lead to increasingly complicated relationships, bringing out insecurities, desires, emotional wounds, and contrasting perspectives on life.
Notably, Possible Love has already achieved impressive critical acclaim. On Rotten Tomatoes, the film has a 100% positive score from critics based on 60 reviews. Its Metascore on Metacritic stands at an impressive 95 out of 100, based on 32 professional reviews. These are particularly remarkable figures for a Korean film running nearly three hours and taking a direction far removed from conventional mainstream entertainment.
Back home, Possible Love has also attracted considerable attention from industry professionals. In JoyNews24’s annual survey marking its 22nd anniversary, the film ranked second in the Best Film of 2026 category with 19 votes, making it the highest-ranked 18+ film on the list. The survey involved 142 entertainment industry professionals, including employees of entertainment companies, broadcasting networks, content production companies, and journalists.
Nevertheless, there is no denying that Possible Love is a relatively demanding film that may not appeal to everyone. With a runtime of 164 minutes, it unfolds at a slow pace, particularly in the opening section, as the director spends considerable time observing everyday life, conversations, and seemingly insignificant interactions between the two families. Viewers expecting a steady stream of major developments may find the film somewhat lengthy and lacking in dramatic peaks.
However, once viewers become fully immersed in the story, Possible Love reveals its own distinctive appeal. Small details introduced early on gradually come together, seemingly inconsequential remarks begin to take on different meanings, and the relationships increasingly reveal their underlying cracks. Rather than attempting to overwhelm audiences with a series of constant twists, Possible Love patiently guides viewers deeper into the characters’ psychology. For those who genuinely engage with the film and reflect on what the director wants to convey, nearly three hours may pass more quickly than expected.
Behind the story of two families from different economic backgrounds, Lee Chang Dong raises thought-provoking questions about class inequality and compassion. Is kindness truly equal when one person has the means to choose whether to help others, while the recipient has no way to escape their own circumstances? Can generosity ever be entirely selfless when a financial, social, and power imbalance remains between the two sides?
It may not be the ideal choice for viewers who prefer fast-paced storytelling, but Possible Love is undoubtedly one of the most noteworthy Korean films of the year. With its outstanding cast, multilayered story, and performances capable of holding the audience’s attention, the film demonstrates that cinema does not need to constantly deliver dramatic climaxes to captivate viewers. Sometimes, what stays with us the longest are the emotions that quietly linger after the film has ended.
Sources: kenh14