Nonetheless, people in the film industry were sounding alarm bells by the end of the year.
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Through the swatches of her life we see her isolation from her peers and her single mother's (Seo Ju-hee of Flower Island) struggle to make up for the evil that kids do.
Eun-hye's closest friend is an elderly woman who lives too far away to see every day.
Two films broke records at the box office: King and the Clown, which was released in the closing days of 2005 (on this site it is listed on the 2005 page) and which sold 12.3 million tickets, and Bong Joon-ho's monster movie The Host, which sold just over 13 million tickets (the equivalent of over $90 million).
Several other films did quite well too, including gambling film Tazza: The High Rollers and comedy 200 Pounds Beauty.
In contrast to the start of the year, when a huge number of films were in production, by year's end many investors had decided to hold back on funding any new films for a while, and the mood seemed to bode ill for 2007.
The other major issue for the film industry in 2006 was the controversial reduction of Korea's Screen Quota System, which obligates theater owners to screen local films for a certain number of days per year. Filmmakers responded with lengthy public protests, but were ultimately unsuccessful in trying to get the government to revoke its decision. (Note that King and the Clown was released on December 29, so it is listed on the 2005 page) Seoul population: 10.35 million Nationwide population: 49.0 million Market share: Korean 63.8%, Imports 36.2% (nationwide) Films released: Korean 108, Imported 237 Total admissions: 153.4 million (=4 million) Number of screens: 1,880 (end of 2006) Exchange rate (2006): 970 won/US dollar Average ticket price: 6034 won (=US.22) Exports to other countries: US,514,728 (Japan: 42%) Average budget: 4.0bn won including 1.4bn p&a spend Byung-tae is a teenager attending a tough high school, where the other students make it their daily habit to beat him up.
Here he plays this role with a mixture of world-weary passivity and sudden, electric bursts of violence.
Although lacking the depth of the other roles he has played in the past few years, Pan-su possesses an attitude that is uniquely Baek Yoon-shik.
The pacing is perfect, the images of the friends in arms racing through the city still stay with me, and there's a nice little placement of one of the symbols of capitalism that brought a bit of laughter to what is otherwise a short full of sorrow, even more sorrowful considering its partly based on a true story.