On March 6, 2026, a rare cinematic milestone electrified South Korea’s film scene: King and the Man Who Lives (왕과 사는 남자), a historical drama directed by Jang Hang-joon, officially surpassed 10 million viewers just 31 days after its release. According to Showbox, the film’s distributor, this makes it the 34th domestic release and 25th Korean film ever to reach the coveted “ten million club”—an achievement not seen in Korean cinema for two years since Exhuma (파묘) and The Roundup 4 (범죄도시 4) in 2024 (Showbox, KBS, Channel A).
The film’s impact has rippled far beyond the box office, sparking a nationwide “Danjong fever” and breathing new life into both the local economy of Yeongwol, Gangwon Province—the real-life backdrop of the story—and the broader Korean film industry. The numbers tell a story of their own: Cheongryeongpo, the site of Danjong’s exile, saw visitors multiply eightfold, while Jangneung, Danjong’s tomb, experienced a ninefold surge in tourists. During the 2026 Lunar New Year holidays alone, over 11,000 people flocked to Cheongryeongpo, five times the usual figure, and the Sam-il Jeol holidays brought in nearly 15,000 more. Altogether, holiday visits in early 2026 accounted for a staggering 34% of the total number of visitors these sites received in the entire previous year (KBS, iNews24).
So what’s behind this phenomenon? King and the Man Who Lives offers a fresh yet poignant take on a familiar chapter of Korean history: the tragic fate of Danjong, the dethroned 15th-century monarch, exiled to Yeongwol after a coup led by his uncle, Sejo. Rather than focusing solely on palace intrigue, the film zooms in on Danjong’s final four months, exploring his unexpected friendship with Eom Heung-do, the local village chief. Yoo Hae-jin, a veteran of blockbusters like The King and the Clown and Veteran, plays Eom, while Park Ji-hoon, in his commercial film debut, delivers a standout performance as the young, doomed king. Their chemistry and nuanced portrayals—Park reportedly lost 15 kg to embody Danjong’s frailty—have drawn both tears and laughter from audiences (SPOTV NEWS, Yonhap News).
The film’s success is all the more remarkable given the overall downturn in theater attendance. In fact, February 2026 marked the first time since December 2023 that nationwide moviegoers exceeded 10 million in a single month, signaling a possible revival for the industry. A CGV multiplex spokesperson told JoongAng Ilbo, “Reaching 10 million viewers in a short month like February is extremely encouraging for the film industry.”
Director Jang Hang-joon, who debuted in 2002 with Turn on the Lighter, expressed a mix of joy and humility as he joined the ranks of “ten million directors” after 24 years. Reflecting on the movie’s resonance, he said through Showbox, “It’s a situation I never imagined. My family and I are happy but also cautious. I think the audience was moved by seeing Danjong not as a weak figure, but as someone who grows stronger and strives to live as a human being.” He added, “I hope viewers reflect on the idea of ‘righteousness’—doing what is right even at personal cost—and consider where their own moral boundaries lie.”
Jang also shared memorable audience feedback, recalling, “The most striking comment was, ‘You enter as a viewer and leave as a commoner.’ Another was, ‘The film filled the gaps of history with warmth.’” Such responses, he said, reaffirmed his belief in the power of storytelling to inspire empathy and reflection (iNews24, SPOTV NEWS).
Critics and industry observers have noted that the film’s empathetic, community-centered narrative struck a chord in a media landscape often dominated by sensational or violent content. “King and the Man Who Lives proves that when there’s a film worth watching, audiences will come to the theater,” said culture critic Jung Deok-hyun in an interview with JoongAng Ilbo. Film critic Yoon Sung-eun observed, “The movie demonstrates the value of collective emotional experience in theaters, offering comfort and catharsis that’s hard to replicate elsewhere.”
The film’s ensemble cast has also drawn praise. Yoo Ji-tae’s portrayal of Han Myeong-hoe, a figure of steely charisma, and Jeon Mi-do’s heartfelt performance as court lady Maehwa, both add emotional depth. Yoo Hae-jin’s immersion in his role was so profound that he reportedly shed tears during makeup sessions, while Park Ji-hoon’s transformation—both physical and emotional—has been widely lauded (Yonhap News).
Beyond the screen, the movie’s influence has been profound. Book sales and library loans related to Danjong, Sejo, and the Joseon Dynasty have soared. According to data from the National Library’s analytics platform, loans of Lee Kwang-soo’s novel Danjong’s Tragic Love jumped from 10-20 per month to 148 in February 2026. Sales of history comics like Park Si-baek’s Annals of the Joseon Dynasty 5 more than doubled, and Kyobo Bookstore reported that sales of books with the keyword “Joseon Dynasty Annals” nearly tripled in the month following the film’s release (iNews24).
The surge in interest is expected to continue, especially with the 59th Danjong Cultural Festival scheduled for April 24-26, 2026, at UNESCO World Heritage-listed Jangneung and along the Donggang River. Local officials and business owners are bracing for another wave of visitors seeking to immerse themselves in the story’s real-life setting (KBS, iNews24).
Industry insiders see the film’s success as a hopeful sign for Korean cinema’s future. Not only did it revive the fortunes of theaters and local tourism, but it also demonstrated the enduring appeal of stories that blend historical fact with universal themes of humanity, community, and moral courage. As director Jang Hang-joon prepares for his next project and the Jecheon International Music & Film Festival in September, he and his cast have already left an indelible mark on both the silver screen and the hearts of millions.
With King and the Man Who Lives, audiences have rediscovered the power of communal storytelling—a reminder that sometimes, the most compelling tales are those that invite us to reflect on our own place in history and the values we hold dear.