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Thriller dramas that have received domestic recognition have recently gained attention due to being consistently directed by women. The currently airing series *‘Bukseong’* (Disney+) and *‘Praying Mantis: The Killer’s Outing’* (SBS), as well as *‘S-Line’* (Wavve) which was released in July, and *‘You Killed Me’* (Netflix), which debuted at this month’s Busan International Film Festival, were all created by female directors.

Female filmmakers, who have mainly focused on mainstream feature films and dramas, have recently experienced a notable increase in involvement with big-budget projects and the thriller category. After last year’s *‘Negotiation’* (Im Soon-rye), featuring Hwang Jung-min and Hyun Bin, which marked the first film directed by a woman to surpass **10 billion Korean won** in production cost, this year witnessed Kim Hee-won leading the **70 billion Korean won** major drama *‘Bukseong.’* “The advantages of female directors are becoming apparent in the thriller genre, which has not typically been seen as a female-oriented field,” (Yoon Seok-jin, professor at Chungnam National University).

◇Love, Family, Friendship, and Action Movies Mixed

One advantage of thrillers directed by women is the nuanced depiction of characters’ mental states, which holds equal importance to the plot developments. Earlier productions like Byun Young-joo’s *‘Snow White’s Death – Black Out’* (MBC) and Shim Na-yeon’s *‘Monster’* (JTBC), praised for their psychological storytelling, demonstrate this quality. Kim Heon-sik, a pop culture analyst, stated, “While conventional thrillers emphasized major events and intense or scary scenes, films directed by women often accurately present female stories and internal psychological portrayals. Because these types of works have achieved favorable outcomes, more chances are becoming available for female directors.”

The ongoing series *‘Praying Mantis: The Killer’s Outing’* has received acclaim for its engaging psychological approach. It follows the tale of a former serial killer mother and her son, who is now a detective, as they work together on an investigation. *‘Bukseong’* blends a romance between a man and a woman within a thriller that takes place against the backdrop of geopolitical conflicts on the Korean Peninsula, while director Ahn Joo-young’s *‘S-Line’* subtly explores the mindset of a hikikomori character. Director Lee Jung-lim’s *‘You Killed Me’* aims to showcase the bond between two unhappy women.

Drama critic Yoon Seok-jin, who is also a professor, stated, “While thrillers are frequently seen as a challenging genre for female directors because of their crime-focused themes, it is also a category where emotions and sensitivity can stand out. The growing number of instances where female directors have made a significant impact in the thriller genre has also influenced industry views.”

◇Shifts in the Gender Distribution of OTT Viewers Also Have an Impact

The rise in popularity of thrillers, which were previously a minor category in television dramas, has been driven by OTT platforms and the expanding range of audiences, also contributing to the success of female-directed thrillers. Kim Heon-sik stated, “During the COVID-19 period, the number of female subscribers on OTT services such as Netflix grew,” and mentioned, “Thrillers that are only violent and crude in the traditional style have also found it more challenging to achieve commercial success.”

It is also anticipated that the full participation of female directors will contribute to the growth of the domestic thriller genre. Ha Jae-geun, a pop culture analyst, stated, “Female directors are making their mark in crafting Korean-style thrillers that subtly and profoundly portray human relationships,” and added, “Although women have been underrepresented in roles that involve creating and directing content within our pop culture industry, I anticipate a variety of perspectives and sensitivities to emerge in the future.” The environment for drama production is becoming more accessible for women. However, while new trends that incorporate elements like romance are welcomed, there are also demands to meet the expectations that current thriller enthusiasts have for the genre. Kim Heon-sik noted, “For success in the global market, stories should align with the conventions of traditional thrillers and avoid favoring narratives of a particular gender, instead presenting universally relatable stories.”

※ This article has been translated by Upstage Solar AI.