Lee Chang

이창 • Ли Чан • 이창훈 • Lee Chang Hoon • Ли Чхан Хун

Lee Chang-dong (Korean: 이창동; born July 4, 1954) is a South Korean film director, screenwriter, and novelist. He has directed six feature films: Green Fish (1997), Peppermint Candy (1999), Oasis (2002), Secret Sunshine (2007), Poetry (2010), and Burning (2018). Burning became the first Korean film to make it to the 91st Academy Awards' final nine-film shortlist for Best Foreign Language Film. Bu...

Lee Chang-dong (Korean: 이창동; born July 4, 1954) is a South Korean film director, screenwriter, and novelist. He has directed six feature films: Green Fish (1997), Peppermint Candy (1999), Oasis (2002), Secret Sunshine (2007), Poetry (2010), and Burning (2018). Burning became the first Korean film to make it to the 91st Academy Awards' final nine-film shortlist for Best Foreign Language Film. Burning also won the Fipresci International Critics' Prize at the 71st Cannes Film Festival, Best Foreign Language Film in Los Angeles Film Critics Association, and Best Foreign Language Film in Toronto Film Critics Association. Lee has won Silver Lion for Best Director and Fipresci International Critics' Prize at the 2002 Venice Film Festival and the Best Screenplay Award at the 2010 Cannes Film Festival. He also won the award for Achievement in Directing at the 4th Asia Pacific Screen Awards in 2017, Jury Grand Prize at the 2018 Asia Pacific Screen Awards, Best Director and Lifetime Achievement Award at the 13th Asian Film Awards in 2019, and he has been nominated for the Golden Lion and the Palme d'Or. Lee served as South Korea's Minister of Culture and Tourism from 2003 to 2004. Early life Lee Chang-dong was born in Daegu, South Korea. He graduated in 1981 with a degree in Korean Literature from Kyungpook National University in Daegu, where he spent much of his time in the theater, writing and directing plays. He went on to teach high school Korean and established himself as a novelist with his first novel Chonri in 1983. Career Lee had no formal training in filmmaking. He was approached by Park Kwang-su to write the screenplay for To the Starry Island. Lee negotiated an assistant director (AD) position as part of the deal and was promoted to first AD on the first day of the shoot when the original first AD failed to show up. The film was released in 1993. He later wrote A Single Spark in 1995, which won Best Film at the 1995 Blue Dragon Film Awards. After his contemporaries encouraged him to finally step behind the director's chair, Lee made Green Fish, a "critique of Korean society told through the eyes of a young man who becomes enmeshed in the criminal underworld", in 1997. Green Fish won Best Film at Blue Dragon Film Awards, Dragons and Tigers Award at the Vancouver International Film Festival and NETPAC Award's Special Mention at the Rotterdam International Film Festival. In 2000, Lee made Peppermint Candy, chronicling a single man in reverse chronology through 20 years of South Korean history—from the student demonstrations of the 1980s to the film's 2000 release. The movie won the Special Jury Prize at Bratislava International Film Festival and three awards at the Karlovy Vary International Film Festival including the Don Quixote Award, Special Jury Prize and NETPAC Award. The film also won Best Film at the Grand Bell Awards of Korea. In 2002, Lee released Oasis about a mentally ill man and a woman with cerebral palsy, winning the Silver Lion for Best Director at the 2003 Venice Film Festival. Oasis was the Korean entry for Best Foreign Language Film at the 75th Academy Awards. In 2003, it got the Chief Dan George Humanitarian Award at the Vancouver International Film Festival and the Venice International Film Festival's Special Director's Award, FIPRESCI Prize and SIGNIS Award. Lee won the Baeksang Arts Award for Best Director. Oasis was nominated at the 2005 Independent Spirit Awards for Best Foreign Film. From 2003-04, Lee was his country's minister of culture and tourism. On the political appointment, he said: At the time of President Roh Moo-hyun's election campaign, one of the things he promised was that his Minister of Culture would be selected from the field of culture and art rather than a professional politician. Well, he got elected, and a lot of people recommended me as this new Minister of Culture. I never thought that this was an outfit that suited me particularly well, but had to accept it as one of those bitter cups one has to accept in the course of life. In October 2006, Lee was awarded the Chevalier (Knight) order of the Legion d'Honneur (Legion of Honor) by the French government for "his contribution to maintaining the screen quota to promote cultural diversity as a cultural minister." It was delivered to the French Embassy in Seoul by French Minister of Culture Renaud Donnedieu de Vabres during an official visit. Lee's fourth film, Secret Sunshine about a grieving mother who loses her son, was completed in 2007. At the 60th Cannes Film Festival, the film was in the competition category with lead actress Jeon Do-yeon, winning the Prix d'interprétation féminine. It was released in South Korea in 2007 and served as the country's nominee for Best Foreign Language Film of the 2008 Academy Awards. Secret Sunshine won Best Feature Film at the Asia Pacific Screen Awards; Best Film and Best Director at the 2008 Asian Film Awards; Best Picture and Best Director at the Korean Film Awards; Best Director at the Director's Cut Awards; and Special Award at the Grand Bell Awards. In 2009, Lee was appointed to the jury of the international competition at the 61st Cannes Film Festival along with Isabelle Huppert, Shu Qi and Robin Wright. Released the following year, Lee's film Poetry tells a of a suburban woman in her 60s who begins to develop an interest in poetry while struggling with Alzheimer's disease and her irresponsible grandson. It garnered positive critical reviews and won Best Screenplay at the 2010 Cannes Film Festival. The starring role was played by Yoon Jeong-hee, who returned to the screen after an absence of 16 years. For this film, Lee won Achievement in Directing at the Asia Pacific Screen Awards. Poetry also won Best Film and Best Screenplay at the 2010 Grand Bell Awards and Best Director at the 2011 Baeksang Arts Awards. In 2018, Lee returned after an eight-year hiatus with the psychological drama mystery film Burning, based on one of Haruki Murakami's 17 short stories in The Elephant Vanishes, "Barn Burning". The film premiered at the 71st Cannes Film Festival, winning the Fipresci International Critics' Prize. It became the highest-rated film in the history of Screen International's Cannes jury grid. Burning was selected as Korea's nominee for Best Foreign Language Film at the 91st Academy Awards,. It was the first Korean film to make it to the shortlist of the final nine of the award. Burning also won the Best Foreign Language Film at the Los Angeles Film Critics Association, Best Foreign Language Film in Toronto Film Critics Association, and runner-up of the National Board of Review's Top Five Foreign Language Film. For this film, Lee won Best Director at the 2018 Buil Film Awards and 2019 KOFRA Film Awards. In addition to international acclaim, "Burning won the 2018 Grand Bell Awards for Best Film and FIPRESCI Award at the Korean Association of Film Critics Awards. In March 2019, Lee won the Best Director for Burning and the Lifetime Achievement Award at the 13th Asian Film Awards. In 2021, he was appointed to head the jury of the international competition at the 15th Asian Film Awards. He also worked with Jason Yu's first film "Sleep" along with Bong Joon-ho. In May 2025, Lee's next movie Possible Love was announced with Netflix boarding as the film's distributor. Political beliefs Lee was born in Daegu, the most conservative and rightist city in Korea, to lower middle-class parents, who were left-leaning, particularly his father. His family came from noble class of the old Korea. This contradiction of growing up in an ex-noble family with socialist ties shaped his character, and subsequently his film style. Lee supported Roh Moo-hyun's candidacy since 2002, and after he won the elections, Lee served in the office as Minister of Culture from 2003 to 2004. During his term, Lee proposed a screen quota for independent film but his proposal met with fierce opposition by the Korean movie industry. However, in October 2006, he was rewarded for his efforts with the Chevalier (Knight) order of the Legion d'Honneur (Legion of Honor) by the French government for "his contribution to maintaining the screen quota to promote cultural diversity as a cultural minister". Lee has been boycotting and refusing to attend the Blue Dragon Film Awards ceremony since 2002 due to political conflicts with The Chosun Ilbo, a conservative South Korean newspaper which hosts the awards. Consequently, since 2002 his films have never been submitted to the competition and were excluded from the nomination for the award's best picture and best director. For nearly a decade until 2017, during the Lee Myung-bak and Park Geun-hye presidential administrations, Lee was blacklisted by the government. Artists such as Lee that were put on the blacklist were subject to investigations and denial of subsidies. Lee recalls of his eight-year-hiatus: During these eight years, I questioned myself a lot: what kind of films I want to make and what kind of films am I going to make for my audience? Actually, it wasn't necessary to catch up for such a long time: I just could've easily made films that people wanted to see, with a touch of my personal style so they could be critically acclaimed, but I was looking for my own films, that's all I can speak and talk about. At the time I was thinking about people's anger: everybody I knew back then was angry, no matter their religion or nationality or differences. (Burning) original story put me in connection with my own questions and story. Film and directing style Lee describes his creative process as one of utter despair. All his films are dark stories of innocence lost, suffering and alienation. His key themes have been consistently about psychological trauma. Rather than allowing his characters simply to wallow in their misery, Lee draws them into situations that make them search, often futilely, for the meaning of life. Memory has often been an important theme for Lee. His work can be defined by the tragedy genre and his stories almost always involve his characters experiencing some degree of suffering. His films are the reflection of the repressive social and political climate of the South Korea, and depictions of marginalized blue-collar Koreans. His characters are characteristically anti-heroic, but he seems to justify them due to their background. Through realistic portraits of troubled characters, Lee asks the audience to examine themselves and to look at what society pushes under the rug. However, he shies away from masking his themes with bold surrealism. Instead, he's more driven by naturalism. Lee doesn't give too specific direction when he works with actors. He believes that an actor's reaction is more important than the action. He doesn't have a particular method of directing. He doesn't tell the actors to act or be in a certain way. Instead, he tells them to become the persona, the character in the film. He said, "What I try to have them do is become the character, to feel like the character. I do not try to be very specific in how I direct my actors, for instance I will not say things like 'Use this expression' or 'Speak this way', or 'Can you please raise the pitch of your voice a bit higher' or anything like that." And, "Sometimes, actors expect from me a bit more detail, to give them specific advise but I don't do that. But what I DO sometimes is to tell them different stories, or speak about other things that do not seem to have anything in common with what the actors should be playing, but indirectly might help them feel the same way as the character feels so that they become the character."It was talked about that there is a lot of pressure on a Lee Chang-dong set. In response to the pressures felt by Moon So-ri and Sul Kyung-gu on his film set, Lee said, "[...] I've never raised my voice, and I'm never really about giving any sort of strict direction, especially when it comes to working with the actors. When it com