Actress Kim Go-eun shared her New Year’s greetings with Ilgan Sports readers during a recent interview at the BH Entertainment building in Gangnam-gu, Seoul. Reflecting on her hopes for the year, she said, “My wish this year is for nothing extraordinary to happen. I know better than anyone how precious that is. So, I sincerely hope this year passes without any troubles.”
Last year, Kim Go-eun emerged as one of the leading figures in Korean cinema. She broke new ground in the K-occult genre with “Exhuma” and contributed to the mainstreaming of queer films with “Love in the Big City”. Notably, “Exhuma” attracted an impressive 11.91 million viewers, even with its February release, a traditionally slow season. The film not only marked a career-high for Kim Go-eun but also earned her several Best Actress awards at prestigious film festivals, solidifying her position in the Korean film industry.
“When the audience numbers started climbing, it felt surreal. During a stage greeting, someone mentioned that 850,000 people had watched the film, and I had a moment of mental blankness. It was a number I’d never encountered before. It felt like a weekly audience count, and it amazed me. Later, as the numbers reached 7 million, 8 million, and beyond, it was both exhilarating and slightly terrifying. I kept wondering, ‘Can this happen to me again?’ It was like a once-in-a-lifetime experience.”
Although it now carries the distinction of being “2024’s highest-grossing film” and “the first occult film to surpass 10 million viewers”, “Exhuma” faced skepticism during its production. Concerns ranged from the niche nature of the occult genre in the Korean film market to other industry challenges. Kim Go-eun was aware of these issues but decided to take on the role because of her trust in director Jang Jae-hyun.
“My reason for joining was simple—I loved director Jang Jae-hyun’s works. His debut short film ’12th Assistant Deacon’ left a lasting impression on me, and I was equally captivated by his later films, ‘The Priests’ and ‘Svaha: The Sixth Finger’. He struck me as someone persistent and deeply knowledgeable. When we met and talked for the first time, my thoughts were confirmed. That trust was pivotal.”
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Kim Go-eun emphasized her distaste for taking anything lightly, saying, “I dislike approaching things casually. Doing something ‘just to give it a try’ feels incredibly disrespectful to people who dedicate their lives to their craft.” This mindset was evident in her meticulous preparation to portray Hwarim in “Exhuma”.
“The script’s Hwarim was a consummate professional with an aura and depth. I thought, ‘If I don’t do this properly, it will come off as ridiculous.’ It had to feel authentic. So, I focused intently on the details, such as gestures. I watched numerous rituals and related videos, noting the differences in touches and rhythms based on individual styles. I then developed my own moves and consulted shamans for guidance.”
While “Exhuma” was driven by director Jang, Kim Go-eun chose “Love in the Big City” for its compelling script. This queer-themed film faced significant challenges during its four-year journey to completion.
“A script that reads effortlessly is a rare find, and this one was. However, I didn’t expect it to take so long to hit the screens. At one point, the production completely halted despite the staff being ready. I remember feeling so happy when filming finally began. That waiting period strengthened and united us, fostering a sense of urgency and camaraderie.”
Though “Love in the Big City” received critical acclaim and won awards, including Best Director, Best New Actor and Best Music, it didn’t achieve commercial success. Kim Go-eun quipped “This kind of result isn’t new to me, so I became the team’s cheerleader” before adding, “The film holds great meaning for me despite the box office performance.”
For Kim Go-eun, balancing critical acclaim with commercial success has been a challenge and a thirst. While prioritizing artistic and meaningful projects often meant lower box office results, she avoided chasing blockbuster guarantees. She revealed, “In the past, my primary criterion for choosing projects was the involvement of senior actors. That was most important.” Her filmography indeed features collaborations with esteemed actors like Youn Yuh-jung, Kim Hye-soo, Lee Byung-hun and Jeon Do-yeon.
“I was very aware of my shortcomings and eager to learn. During my debut with ‘Eungyo’, ignorance was forgivable, but as expectations grew, I realized I couldn’t stay the same. I followed senior actors diligently, learning as much as I could while I could still claim, ‘I’m just a rookie.’”
Turning 30 marked a turning point for Kim Go-eun, who decided it was time to move beyond her mentors’ shadows. She took a bold step with the 2021 drama “Yumi’s Cells”. “I put myself out there with that drama. As the lead, I appeared in 98% of the scenes. My mindset was, ‘If you can’t do this now, what will you do?’ Of course, I still have regrets, but I use them as stepping stones to grow steadily.”
Kim Go-eun’s journey of reflection and growth continues as she prepares for her next projects: Netflix’s series “Two Women” and “The Price of Confession“. The former is expected to release in early 2025, while the latter is still in production.
“After wrapping up ‘The Price of Confession’, I’d like to take a three-month break. I don’t think I’ve had more than a month off in the past 4~5 years. I’ve been rowing nonstop (laugh). I’ll recharge briefly and then dive back in with full energy.”
Looking back on 2024, Kim Go-eun described it as a year of “rewards”. Reflecting on a particularly challenging 2023, she shared, “I wondered how each day could feel so difficult. It felt like I was surviving day by day. On January 1, 2024, I made a wish, ‘Please, let nothing bad happen this year.’”
“As I reflect on 2024, I feel like I’ve been showered with all the good things to make up for the hardships. It was like the universe was replenishing me, giving me what I needed to recharge. I’ll carry these precious memories of 2024 with me as motivation to persevere through future challenges.”
