On the morning of August 22, 2025, the usually bustling Lotte Cinema at Konkuk University in Seoul found itself at the center of South Korea’s film scene, as director Yeon Sang-ho and his cast gathered to introduce their latest project, Face. The film, a mystery with roots in both family tragedy and the pursuit of craft, has already stirred up anticipation well beyond Korean borders. It’s been officially invited to the special presentation section of the 50th Toronto International Film Festival, marking a significant milestone for the team behind this ultra-low budget yet highly ambitious movie.
Directed by Yeon Sang-ho, whose previous works like Train to Busan and Peninsula have cemented his reputation for sharp storytelling and thematic depth, Face is a departure in more ways than one. The film was produced with only about 20 actors and crew, a mere two weeks of pre-production, and just 13 days of shooting. The entire project was accomplished on a shoestring budget of 200 million won—a remarkable feat in an industry where blockbuster budgets often soar into the billions. According to MK News, Yeon described the process as making a “mobile movie,” emphasizing the flexibility and creative energy that a small, agile team can bring to the table.
At the heart of Face is a story that spans decades and generations. The film centers around Lim Young-gyu, a blind craftsman renowned for his mastery in seal engraving, and his son, Lim Dong-hwan, who is driven to unravel the mystery of his mother’s disappearance some forty years prior. Park Jung-min, an actor celebrated for his versatility, takes on the challenging task of playing both father and son. This dual role is a first for Park, and it’s clear from the press conference that he poured himself into the work—both emotionally and practically.
Park recounted how he “actually learned how to sell stamps” to bring authenticity to his role as the blind artisan. “It was a mess in many ways, but I also presented the seal directly to the actors and production team,” he shared, according to Sports Chosun. He even joked that Shin Hyun-bin’s stamp was the best, though he admitted, “the ‘n’ would be the other way around.” The actor’s dedication extended beyond the set, as he kept a set of painting tools at home and continued practicing the craft as a hobby long after filming wrapped.
Park’s commitment to the project went further than just learning a new skill. He participated in the film without a guarantee fee, motivated by what he described as loyalty and a deep admiration for director Yeon. “It was meaningful just to be able to add strength to a good movie and a good story,” Park said at the briefing, as reported by MK News. “If you ask for an appearance fee for a low-budget movie, you might think it’s so called ‘chit-chit-chit-chit-chit-chit.’ I made up my mind to go out of loyalty.”
Director Yeon himself was candid about the challenges and rewards of working under such tight constraints. He explained, “I always think that I want to make a new movie, a movie with a new soul. I needed a new body to do that. I made it completely different from the way I’ve done it before.” He went on to describe the process as a return to the basics, likening it to “the process of making a god every day was back as a college student.” There was fear, he admitted—fear that the visual quality or the results would not meet expectations. But as the cast and crew came together, that fear melted away, replaced by a sense of camaraderie and creative possibility. “The actors and the production team were able to share intuitive opinions and create a new god on the spot. It was a perfect production method for this movie,” Yeon said, his confidence evident.
The cast is rounded out by a talented ensemble: Kwon Hae-hyo, who brings depth to the role of Lim Young-gyu in the present; Shin Hyun-bin, who takes on the challenging part of a woman whose face is never fully revealed; Lim Sung-jae as the president of the Cheonggyecheon sheath factory; and Han Ji-hyun, a documentary producer probing the long-buried mystery of Jung Young-hee’s death. Each actor faced unique demands. Shin Hyun-bin, for instance, reflected on how difficult it was to act without relying on facial expressions, focusing instead on gestures, movement, and voice to convey her character’s emotions and intentions.
Despite the tight schedule and limited resources, the team’s passion was evident. Park Jung-min noted that “there were far more options in this movie than there were in the movie that cost more to produce. I was surprised.” He attributed this to the deep preparation and the collaborative spirit that defined the shoot. The dressing team even brought their own equipment and clothing from home, a testament to the collective effort and resourcefulness that powered the production.
In a nod to the competitive spirit of Korean cinema, Face is set to open in theaters at the same time as director Park Chan-wook’s star-studded film I Can’t Help It. Director Yeon playfully framed it as a showdown between two of Korea’s most celebrated actors: Lee Byung-hun and Park Jung-min. “Let’s face Lee Byung-hun and Park Jung-min in September for the position of Korea’s representative acting actor,” Yeon quipped, drawing laughter from those in attendance. Park, ever the humble professional, responded, “I can’t tell you because he’s such a great senior. Director Park Chan-wook, I really respect him. But, no. Various thoughts suddenly enter my mind. We will do our best. I will go to the theater to watch I Can’t Help It, so I hope you can come to see Face.”
The film’s invitation to the Toronto International Film Festival is not just a feather in the cap for Yeon and his team; it’s a testament to the film’s resonance and the international appeal of Korean cinema’s evolving narratives and production methods. As Yeon put it, “There are so many media these days, and if we don’t achieve the diversification of the way we make movies, we probably won’t be able to make movies anymore.” Face is, in many ways, a bold experiment—a new soul in a new body, as its creator intended.
Set for release on September 11, 2025, Face stands as a remarkable example of what can be achieved when passion, innovation, and teamwork converge, even in the face of daunting limitations. The film’s journey from a modest production in Seoul to the international stage in Toronto is a story worth watching—both on and off the screen.
