In a dramatic turnaround for the South Korean film industry, director Jang Hang-jun’s historical epic King and the Man Who Lives (왕과 사는 남자) has shattered box office expectations, amassing over 9 million viewers within less than a month of its release. As of March 2, 2026, the film’s cumulative audience had soared to 8,484,433, with reports later that day confirming the 9 million milestone—a feat that has the country’s moviegoers and industry insiders buzzing with excitement, cautious optimism, and a healthy dose of humor.
Released on February 4, 2026, King and the Man Who Lives quickly outpaced last year’s top Korean hit Zombie Daughter (5.64 million viewers), and sped past records set by earlier blockbusters such as Forgotten Night (1.38 million viewers). The film’s meteoric rise places it in the company of legendary Korean period dramas like The King and the Clown (2005), The Throne (2015), and Masquerade (2012), all of which are remembered for their cultural impact and box office dominance. According to data cited by Money Today and JTBC, the film’s momentum shows no sign of slowing, with industry watchers speculating that the coveted 10 million viewer mark—a symbolic threshold of blockbuster status in Korea—might be within reach.
The film’s narrative, set in 1457 at Cheongnyeongpo, weaves together the stories of village leader Eom Hong-do (played by Yoo Hae-jin) and the exiled young former king Lee Hong-wi (Park Ji-hoon). It’s a blend of historical fact and imaginative storytelling, praised for its wit, emotional warmth, and the director’s signature touch. As Showbox, the film’s distributor, notes, the movie “maximizes both entertainment and insight by bridging the gap between known history and untold stories.” The film’s Golden Egg Index at CGV theaters stands at a remarkable 97%, while Naver’s real-audience rating holds steady at 9.0—testament to its broad appeal and positive word-of-mouth.
Director Jang Hang-jun, who has long been admired for his unique sensibility and humor, now finds himself in the limelight as an “800 million-view director”—a title he wears with a mix of pride and disbelief. In a message shared through Showbox, Jang expressed heartfelt gratitude: “I’m so thankful to all the viewers who have loved the film. 8 million people have watched it, and not just me, but the whole cast and crew feel that this is a number we never even imagined. We’re living each day with gratitude.”
But the real fun began earlier in the film’s promotional campaign, when Jang made a series of tongue-in-cheek pledges on the popular SBS PowerFM radio show Bae Sung-jae’s Ten. When asked to make a promise should the film reach 10 million viewers, Jang quipped: “That’s not something that happens easily. It won’t happen, but if it does, I’ll change my phone number, change my name, get plastic surgery so no one recognizes me, and maybe even naturalize somewhere else. I hope nobody comes looking for me. Maybe I’ll buy a yacht and throw a party on it.” The comments, delivered with trademark self-deprecation, quickly went viral, sparking anticipation—and a bit of playful pressure—from fans and netizens alike.
Now, with the 10 million mark tantalizingly close, Jang is set to return to Bae Sung-jae’s Ten alongside BA Entertainment CEO Jang Won-seok. The episode, recorded on March 4 and scheduled to air on March 8, promises to revisit the director’s now-famous “reckless pledge,” with producers inviting listeners to submit questions for the director. Online, fans are abuzz: “Name change, plastic surgery, naturalization—finally happening!” one user exclaimed, while another wondered, “Is he going to take back his pledge now that it’s actually possible?”
Yet, beneath the levity, the film’s success is being heralded as a pivotal moment for Korean cinema. After a challenging year in which no domestic film crossed the 10 million viewer threshold, King and the Man Who Lives has injected new life into the industry. The film’s box office dominance has coincided with the release of another local contender, Humint, creating a dynamic where Korean films are drawing audiences back to theaters in droves.
The Lunar New Year holiday, traditionally a major moviegoing period, provided the first clear sign of resurgence. According to the Korean Film Council’s integrated computer network, from February 14 to 18, daily average attendance at theaters reached approximately 850,000—the highest since the pandemic. Korean films accounted for over 90% of ticket sales during this stretch, with King and the Man Who Lives alone attracting about 2.67 million viewers. On March 1, the film set a new daily record, pulling in 817,212 viewers nationwide, a figure that underscores its runaway popularity.
Industry analysts are cautiously optimistic that this surge is more than a fleeting spike. The success of King and the Man Who Lives, following on the heels of If We (which crossed its break-even point in just 13 days late last year) and alongside Humint, suggests a relay of strong domestic releases may be reigniting audience interest and confidence. “When compelling films are released back-to-back, it naturally drives more people to the theaters,” observed one industry commentator. “This could lead to increased investment and production in Korean cinema over the long term.”
The film’s impact isn’t confined to box office numbers. Viewers have reportedly been inspired to visit the real-life setting of Gangwon-do Yeongwol, delving into the history of King Danjong and the poignant events that shaped his exile. The movie’s blend of humor, pathos, and historical intrigue has resonated across generations, sparking renewed interest in both Korean history and the power of storytelling.
For Jang Hang-jun, the journey from “reckless pledges” to potential 10 million-viewer glory has been as unpredictable as it is gratifying. Whether or not he follows through on his humorous promises, his film has already achieved what seemed, until recently, unimaginable—a revitalized industry, record-breaking attendance, and a place in the pantheon of great Korean cinema. As audiences continue to flock to theaters, all eyes are on whether King and the Man Who Lives will notch that final, historic milestone and what surprises its director might have in store when it does.
For now, the film remains a must-see, screening to packed houses nationwide and reminding all involved that, sometimes, the most unexpected stories are the ones that change everything.