During the 2026 Lunar New Year holiday, South Korea’s movie theaters roared back to life, marking a pivotal moment for the nation’s film industry after years of pandemic-induced sluggishness. At the heart of this cinematic resurgence was the historical drama The Man Who Lives with the King (왕과 사는 남자), which not only dominated the box office but also rekindled the emotional bond between audiences and the big screen.
According to data from the Korea Film Council, a staggering 4,227,771 people visited theaters nationwide from February 14 to 18. This figure represents a more than 20% increase compared to the previous year’s holiday period, which drew around 3.5 million viewers. Even more striking, the average daily attendance soared to approximately 850,000—a 58% jump from last year—setting a post-pandemic record for Lunar New Year cinema attendance, as reported by Newspim.
Leading this wave was The Man Who Lives with the King, which alone attracted 2,675,451 viewers during the five-day holiday and surpassed 4.17 million cumulative admissions by February 19. The film’s momentum was undeniable: it started the holiday with 350,000 viewers on day one and surged to 660,000 on February 17, the day that also marked the highest daily attendance for a Lunar New Year since March 2020. The film’s cumulative audience easily cleared its break-even point, with industry insiders now predicting it may soon reach the 5 million mark—and perhaps even higher, given the lack of strong competitors in the typically slow season.
What’s behind this phenomenal success? As JoongAng Ilbo observed, the answer lies in the movie’s warm, intergenerational narrative and the strength of its performances. Rather than relying on the adrenaline of typical action blockbusters, director Jang Hang-joon chose to focus on the poignant relationship between the exiled young king Danjong—played with striking delicacy by Park Ji-hoon—and the humble village chief Eom Heung-do, brought to life by the versatile Yoo Hae-jin. The story, set in the historically real Cheongnyeongpo, reimagines the tragic final days of Danjong, blending historical fact with cinematic imagination to craft a tale that resonates across generations.
Film critic Yoon Sung-eun praised the film’s emotional arc, noting, “At first, the film uses humor to ease the audience in, then moves into a touching narrative that ultimately brings tears. It’s not the most sophisticated direction, but the story’s power and determination carry it through, and audiences have responded to that.” The relationship between Danjong and Eom Heung-do, while a fictional device, offered an emotionally effective build-up that left viewers both laughing and moved—a combination that proved irresistible during the family-oriented holiday period.
Park Ji-hoon’s casting as Danjong was, in many ways, a masterstroke. Initially hesitant to take on the weighty role of a tragic historical figure, Park was eventually convinced by director Jang after persistent persuasion. His sensitive portrayal not only sparked a renewed interest in Danjong’s real-life story—leading to a surge in online searches and fan-created content—but also drew in younger viewers, expanding the film’s appeal beyond traditional historical drama fans. Yoo Hae-jin’s performance, meanwhile, was widely credited with anchoring the film; his ability to shift seamlessly between comedic and dramatic moments gave the film much of its heart and authenticity.
The film’s narrative approach—eschewing sensationalism in favor of empathy and human connection—proved to be exactly what audiences were craving. “This holiday was a precious turning point that lit the way for audiences to return to theaters,” a Lotte Cinema representative told Newspim. The shared cinema experience, it seems, remains irreplaceable, even in an era dominated by streaming platforms. The communal laughter, tears, and collective gasps inside packed theaters reminded moviegoers of the unique magic that only the big screen can deliver.
It’s worth noting that The Man Who Lives with the King wasn’t the only film vying for holiday attention. The spy action movie Human Intelligence (휴민트), directed by Ryoo Seung-wan and starring Jo In-sung and Park Jung-min, was initially expected to be a strong contender. However, it drew just 1.28 million viewers, falling short of expectations and trailing far behind the historical drama. As JoongAng Ilbo pointed out, the Lunar New Year is a time when family audiences have a decisive impact on box office fortunes, and the emotional depth of The Man Who Lives with the King ultimately proved more compelling than high-octane action.
President Lee Jae-myung’s visit to see the film with his spouse on February 17 further boosted public interest, underscoring the movie’s broad national appeal. The film’s success also signaled a broader trend: during the holiday, Korean films accounted for more than 90% of the domestic box office, a sharp turnaround from last year’s struggles against foreign blockbusters. This overwhelming support from local audiences suggests a renewed appetite for homegrown stories—especially those that offer both emotional resonance and high production values.
Showbox, the film’s distributor, attributed part of the movie’s triumph to director Jang’s likability and sincerity. “His strength lies in portraying the humanity of marginal characters, and that authenticity has touched the hearts of viewers,” said Jo Soo-bin, head of Showbox’s publicity team. Indeed, the film marks the biggest box office success of director Jang’s career since his 2002 debut with Kick the Moon.
Looking ahead, industry insiders are optimistic. With The Man Who Lives with the King still leading reservation rates—holding a 49.2% share and attracting over 156,000 advance ticket holders even after the holiday—expectations are high that the film will continue its strong run. Some multiplex officials predict that, barring any surprise competition, the film could eventually surpass 7 million viewers.
Ultimately, the 2026 Lunar New Year holiday has done more than just break attendance records. It’s shown that, even in an age of streaming and digital convenience, audiences are still eager to gather in the dark, share a story, and be moved together. The triumph of The Man Who Lives with the King is a testament to the enduring power of well-crafted, emotionally resonant cinema—and a hopeful sign that Korean film’s new spring has truly arrived.