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Time of India
05-05-2025
- Entertainment
- Time of India
61st Baeksang Art Awards: Culinary Class Wars and Harbin win Daesangs; check out the complete list of winners here
The 61st Baeksang Arts Awards took place on May 5, 2025, celebrating the best in television and film in South Korea. Held at COEX's D Hall, the event was hosted by Shin Dong Yup, Suzy, and Park Bo Gum for the fourth consecutive year. In the broadcast category, Culinary Class Wars took home the Daesang, while Harbin claimed the Grand Prize in the film category. Kim Tae Ri was honoured as Best Actress for her role in Jeongnyeon: The Star Is Born, and Ju Ji Hoon won Best Actor for his performance in The Trauma Code: Heroes on Call. Additionally, When Life Gives You Tangerines earned the Best Drama award. Check out the complete list of winners below: 61 Baeksang Art Award: Complete list of winners Grand Prize (Daesang – Broadcast) – Culinary Class Wars (Netflix) Grand Prize (Daesang – Film) – Hong Kyung Pyo for Harbin Best Actor (Broadcast) – Ju Ji Hoon in The Trauma Code: Heroes on Call Best Actress (Broadcast) – Kim Tae Ri in Jeongnyeon: The Star Is Born Best Actor (Film) – Jo Jung Suk in Pilot Best Actress (Film) – Jeon Do Yeon in Revolver Best Drama – When Life Gives You Tangerines (Netflix) Best Entertainment Program – Punghyanggo (DdeunDdeun's YouTube Channel) Best Cultural Show – SBS Special – Hakjeon Best Male Variety Performer – Shin Dong Yup Best Female Variety Performer – Lee Soo Ji Baeksang Theater – Tungso Sori for Seoul Metropolitan Theater Best Director (Broadcast) – Song Yeon Hwa for Doubt Best Director (Film) – Oh Seung Uk for Revolver Best Supporting Actor (Broadcast) – Choi Dae Hoon in When Life Gives You Tangerines Best Supporting Actress (Broadcast) – Yeom Hye Ran in When Life Gives You Tangerines Best Supporting Actor (Film) – Yoo Jae Myung in Land of Happiness Best Supporting Actress (Film) – Claudia Kim in A Normal Family Gucci Impact Award (Film) – The Land of Morning Calm Best Screenplay (Broadcast) – Lim Sang Choon for When Life Gives You Tangerines Best Screenplay (Film) – Shin Chul and Park Chan Wook for Uprising Best Technical Achievement (Broadcast) – Jang Yeong Gyu (Score) for Jeongnyeon: The Star Is Born Best Technical Achievement (Film) – Jo Yeong Wook (Score) for Uprising PRIZM Popularity Award (Female) – Kim Hye Yoon PRIZM Popularity Award (Male) – Byeon Wook Seok Young Theater Award – Gongnori Club for Dried Pepper and Peach Scent Lipstick Best New Actor (Broadcasting) – Choo Young Woo in The Tale of Lady Ok Best New Actress (Broadcasting) – Chae Won Bin in Doubt Best New Director (Film) – Oh Jung Min for House of the Seasons Best New Actor (Film) – Jung Sung Il in Uprising Best New Actress (Film) – Roh Yoon Seo in Hear Me: Our Summer For all the latest K-drama, K-pop, and Hallyuwood updates, keep following our coverage here.
Forbes
05-05-2025
- Entertainment
- Forbes
‘When Life Gives You Tangerines' Wins A Few Baeksang Arts Awards
'When Life Gives You Tangerines' was nominated for eight awards and won four, including Best Drama. The 61st Baeksang Arts Awards were held on May 5 at the COEX D Hall in Seoul. Awards were presented for films and dramas that aired or were released between April 1, 2024 and March 31, 2025. To qualify at least one third of a program had to have aired by March 31. Given its popularity among viewers it's no surprise that the drama When Life Gives You Tangerines won a few awards, even though it was up against some tough competition with Lovely Runner, The Tale of Lady Ok, Doubt, and The Trauma Code: Heroes on Call. When Life Gives You Tangerines had the most nominations of any drama, garnering eight in all, followed by Doubt at six and Jeongnyeon: The Star Is Born, Lovely Runner and Trauma Code at five. Altogether, When Life Gives You Tangerines won four awards, including the Best Drama Award which was accepted by the drama's production staff. The first award given to the drama was the Best Screenplay Award, which went to the drama's writer Im Sang-choon. The award was accepted by director Kim Won Suk, who already has four Baeksang Awards to his name, but he did not win an award for this drama. When accepting the award for Best Drama, he said that he made the drama in a time of hate, hoping that he could help people get along. Ju Ji-hoon won a Best Actor Award for his role in 'Trauma Code: Heroes On Call.' Singer-actress IU was nominated for Best Actress for her role in the drama, but instead it went to Kim Tae-ri, who starred in Jeongnyeon: The Star Is Born. The difficult role required Kim to learn pansori, the traditional Korean form of storytelling. It's her third time winning a Baeksang award and second for Best Actress. She previously won for Twenty-Five Twenty-One. Park Bo-gum was also nominated for his role in When Life Gives You Tangerines, but lost to Ju Ji-hoon who played a reckless and talented doctor in the medical action series Trauma Code: Heroes On Call. The Best Supporting Actor award did go to Choi Dae-hoon for his role in When Life Gives You Tangerines. He won over Kim Jun-han, Roh Jae-won, Yoon Kyung-ho and Hyeon Bong-sik. The award moved him to tears during his acceptance speech. A Best Supporting Actress award went to Yeom Hye-ran for her memorable role in When Life Gives You Tangerines. She won over Kim Guk-hee, Kim Jae-wa, Ok Kyung-hwa and Jung Eun-chae. Yeom also presented the award with the help of Ahn Jae-hong. In her acceptance speech, Yeom referenced the character of Ae-sun, played by IU in the drama, saying 'Ae-sun, your mom got an award.' Song Yeon-hwa won the Best Director Award for his drama 'Doubt.' Song Yeon-hwa won the Best Director Award for the drama Doubt, winning against some stiff competition from Lee Do-yeon for The Trauma Code: Heroes on Call , Jung Ji-in for Jeongnyeon: The Star Is Born, Kim Won-seok for When Life Gives You Tangerines and Kim Hee-won for Light Shop, Choo Young-Woo won a Best New Actor award for his role in The Tale of Lady Ok, defeating Kim Jung-Jin, Song Gun-Hee, Cha Woo-Min and Heo Nam-Jun. Chae Won-bin won Best New Actress for her role in Doubt, beating out Kim Tae-yeon, Roh Jeong-eui, Jo Yoon-soo and Ha Young. A best technical (art) direction award went to Jang Yeong-gyu for the music in Jeongnyeon: The Star Is Born. Byeon Woo-seok and Kim Hye-yoon won Prizm Popularity Awards for their work in the drama Lovely Runner. The Grand Prize for broadcast was presented by JoongAng Group vice-chairman Hong Jong-do and Ryu Seung-ryong of the Disney+ drama Moving. It was given to the Netflix show Culinary Class Wars. Actors Byun Yo-han and Go A-seong presented the Best Film Award to Harbin, which stars Hyun Bin. Producer Kim Won-guk accepted the award for the CJ ENM film, which won over competition from Love In The Big City, Revolver, House of the Seasons and Uprising. Meanwhile ,the Best Director (film) Award went to Oh Seung-wook for the film Revolver. The Best Actress Award was given to Jeon Do-yeon for her role in the film Revolver. Her competition was Kim Geun-soo, Song Hye-kyo, Cho Yeo-jeong and Kim Go-eun who presented the award. Cho Jung-seok won Best Actor for his role in the film Pilot, winning against nominees Yoon Joo-sang, Lee Byung-hun, Lee Hee-joon and Hyun Bin. The Best Supporting Actor (film) award went to Yoo Jae-myung for Land of Happiness. He won over Jung Hae-in, Jo Woo-jin, Koo Kyo-hwan, and Park Jeong-min. When accepting his award Yoo mentioned fond memories of the late actor Lee Sun-kyun. The Best Supporting Actress (film) award went to Claudia Kim for her role in Hur Jin-ho's film A Normal Family. The Best New Actress award went to Roh Yeon-soo for Hear Me: Our Summer, while the Best New Actor award went to Jung Sung-il for Uprising. The Best Screenplay Award (film) was given to Park Chan-wook and Shin Chul for the historical saga Uprising. Park, who also directed the film, accepted the award. The Grand Prize in Film went to Harbin cinematographer Hong Kyung-po. The Land of the Morning Calm won the Gucci Impact Award. The award is given for a film that sheds light on an important message. The film focused on people living in a rural seaside community Launched in 1965, the awards are decided by a 60-member panel of industry experts and academics. This year the Baeksang Arts Awards took place on Children's Day in South Korea, so the ceremony included performances by young actors and photos of celebrities as children. The award ceremony was hosted by Shin Dong-yup, Suzy Bae, and Park Bo-gum.
Forbes
07-04-2025
- Entertainment
- Forbes
Baeksang Arts Awards Announces The 2025 Drama And Film Nominations
Kim Hye-yoon and Byeong Woo-seok star in 'Lovely Runner.' The Baeksang Arts Awards has announced its 2025 nominations for drama and films. Candidates were chosen from dramas and films that aired or were released between April 1, 2024 and March 31, 2025. To qualify at least one third of a program had to have aired by March 31. Best drama nominations include Lovely Runner, The Tale of Lady Ok, Doubt, The Trauma Code: Heroes on Call and When Life Gives You Tangerines. Best Director nominations went to Kim Won-seok for When Life Gives You Tangerines, Kim Hee-won for Light Shop, Song Yeon-hwa for Doubt, Lee Do-yeon for The Trauma Code: Heroes on Call and Jung Ji-in for Jeongnyeon: The Star Is Born. Best screenplay nominations went to Kim Jung-min for Family Matters, Park Ji-sook for The Tale of Lady Ok, Lee Si-eun for Lovely Runner, Im Sang-choon for When Life Gives You Tangerines and Choi Yu-na for Good Partner. Best technical direction went to Lee Young-joo for the art in Culinary Class Wars, Lee Jin-suk and Lee Deok-hoon for the camera work in Doubt, Jang Yeong-gyu for the music in Jeongnyeon: The Star Is Born and Hong Jung-ho, Lee Seung-je, Kim Dae-hoon and Kim Jung-min for the VFX in Hellbound 2. Park Bo-gum and IU star in 'When Life Gives You Tangerines,' Best Actor nominations went to Park Bo-gum for When Life Gives You Tangerines, Byeon Woo-seok for Lovely Runner, Lee Jun-hyuk for Dongjae, the Good or the Bastard, and Han Suk-kyu for Doubt. Best actress nominations went to Go Min-si for The Frog, Kim Tae-ri for Jeongnyeon: The Star Is Born, Kim Hye-yoon for Lovely Runner, IU for When Life Gives You Tangerines and Jang Nara for Good Partner. Best supporting actor nominations were given to Kim Jun-han for Good Partner, Roh Jae-won for Squid Game 2, Yoon Kyung-ho for The Trauma Code: Heroes on Call, Choi Dae-hoon for When Life Gives You Tangerines and Hyeon Bong-sik for Dongjae, the Good or the Bastard. Best Supporting Actress nominations were given to Kim Guk-hee for Family Matters, Kim Jae-wa for The Tale of Lady Ok, Yeom Hye-ran for When Life Gives You Tangerines, Ok Kyung-hwa for Jeongyeon: The Star is Born and Jung Eun-chae for Jeongnyeon: The Star Is Born. Kim Tae-ri stars in 'Jeongnyeon: The Star Is Born' Best new actor nominations went to Kim Jung-in for Doubt, Song Geon-hee for Lovely Runner, Cha Woo-min for Study Group, Choo Young-woo for The Tale of Lady Ok and Heo Nam-jun for Your Honor. Best new actress nominations went to Kim Tae-yeon for When Life Gives You Tangerines, Roh Jeong-eui for The Witch, Jo Yoon-soo for The Tyrant, Chae Won-bin for Doubt and Ha Young for The Trauma Code. Best film nominations went to Love In The Big City, Revolver, House of the Seasons, Uprising and Harbin, with best director nominations going to Park Yi-woong for The Land of the Morning Calm, Oh Seung-wook for Revolver, Woo Min-ho for Harbin, Lee Eon-hee for Love in The Big City and Lee Jong-pil for Escape. Best actor (film) nominations went to Yoon Joo-sang for The Land of the Morning Calm, Lee Byung-hun for The Match, Lee Hee-joon for Handsome Guys, Jo Jung-suk for Pilot and Hyun Bin for Harbin. Best actress (film) nominations went to Kim Go-eun for Love in the Big City, Kim Geun-soon for Jeong-Sun, Song Hye-kyo for Dark Nuns, Jeon Do-eyon for Revolver and Cho Yeo-jeong for Hidden Face. Best supporting actor (film) nominations went to Koo Kyo-hwan for Escape, Park Jung-min for Uprising, Yoo Jae-myung for Land of Happiness, Jung Hae-in for I, the Executioner and Jo Woo-jin for Harbin. Best supporting actress (film) nominations went to Gong Seung-yeon for Handsome Guys, Claudia Kim for A Normal Family, Lim Ji-yeon for Revolver, Jeon Yeo-been for Dark Nuns, and Han Sun-hwa for Pilot. Lim Ji-yeon stars in 'The Tale of Lady Ok.' Earning best new actor nominations were Kang Seung-ho for House of the Seasons, Noh Sang-hyun for Love in the Big City, MoonWoo-jin for Dark Nuns, Jang Sung-bum for Work To Do and Jung Sung-il for Uprising. Best new actress (film) nominations went to Roh Yeon-soo for Hear Me: Our Summer, Park Ji-hyun for Hidden Face, Lee Myung-ha for Mimang, Hyeri for Victory and Ha Seo-yoon for Streaming. Best screenplay nominations went to Kim Hyung-joo and Yoon jong-bin for The Match, Park Yi-woong for The Land of Morning Calm, Shin Chul and Park Chan-woo for Uprising, Oh Seung-wook and Jo Byul for Revolver and Oh Jung -min for House of Seasons. Best technical (film) nominations went to Park Byung-joo for the VFX in Wonderland, Yoo Sang-seop and Jang Han-seung for the action scenes in I the Executioner, Lee Seo-jin for the makeup in Pilot, Jo Young-wook for the music in Uprising and Hong Kyung-pyo for the camerawork in Harbin. The Baeksang Arts Awards are considered one of the most prestigious entertainment awards in South Korea. The ceremony takes place on May 5 at 8 p.m. KST.
Korea Herald
15-03-2025
- Entertainment
- Korea Herald
Review: Women of Gukgeuk
Yoo Su-yeon's new documentary captures the determined persistence of Korea's overlooked theatrical tradition When the TV drama "Jeongnyeon: The Star Is Born" captivated viewers last year, its real triumph wasn't the plot or performances— it was reviving interest in gukgeuk, Korea's forgotten all-women theater. But even as millions worldwide watched the dramatized 1950s story of a talented country girl's rise to gukgeuk stardom, few knew the history behind this unique artistic tradition, let alone its precarious present. Yoo Su-yeon's upcoming documentary "Women's Gukgeuk: Enduring on the Edge of Time" fills this void with unvarnished realism. It follows two young gukgeuk practitioners, Hwang Ji-young and Park Soo-bin, on a journey to mount an ambitious intergenerational performance as they struggle to preserve their fading cultural practice. Gukgeuk emerged in the late 1940s as a uniquely Korean theatre where women performed all roles— including male characters. It was wildly popular in the 1950s post-war period, when its productions outnumbered films and its stars achieved cult-like fame. Women playing male leads developed particularly devoted female followings, with some fans even asking to take mock wedding photos with their idols. Then it vanished. Gukgeuk fell into oblivion in the 1960s as television and film became the order of the day. It languished without institutional recognition, frequently looked down upon by male-dominated pansori circles and excluded from government funding channels. In 2019, gukgeuk applied for intangible cultural heritage status — which would have made it eligible for government support — but was rejected on technicality: Its post-1945 origin disqualified it from consideration. Against this backdrop, Yoo's film shapes up less as a celebration of artistic excellence than as a documentation of cultural endangerment and survival. We witness Ji-young and Soo-bin, professionally trained talents in their field, traversing the country in a dilapidated camping car. Their performances at regional festivals barely cover expenses, and the camera repeatedly captures audience members walking out mid-show — a telling leitmotif of public indifference to an art form relegated to the margins. The duo's visit to Japan's Takarazuka Revue, a thriving all-female theatrical company since 1913, throws into stark relief the abyss between a flourishing tradition and their own neglected inheritance. The film's emotional core lies in the relationship between these young practitioners and their 91-year-old mentor, Cho Young-sook, a first-generation master of the craft who once specialized in comedic male roles. Her tireless teachings speak to the disciplined transmission of embodied knowledge — through an unbroken chain from first-generation to third. When Ji-young and Soo-bin announce their ambition to stage "Legend Chunhyangjeon," a monumental showcase featuring performers spanning generations as tribute to their aging mentors, Cho embraces them with trembling gratitude. Their path from concept to culmination turns out to be a study in perseverance. During initial production talks, Soo-bin and Ji-young must admit they have "zero budget." Soo-bin pounds the pavement soliciting sponsors, sometimes resorting to singing in karaoke rooms and pouring drinks for potential male donors — a striking irony for a artistic endeavor celebrated for supposedly empowering women. The question of gender — its performativity and fluidity — is a widely discussed element of gukgeuk, one that the film approaches with refreshing nuance. Rather than romanticize gukgeuk's gender-bending qualities, the film chooses to complicate that reputation by exposing tensions inherent in the tradition. While gukgeuk allows women to occupy traditionally male spaces — playing heroes, villains, and lovers — it is repeatedly shown to reinscribe conventional gender codes in unexpected ways. For one thing, as performers candidly admit, those in female roles are expected to dramatize traditional femininity as counterpoint to the stylized masculinity of male characters. The strict hierarchy within traditional Korean arts proves as equally constraining as gender roles themselves. Viewers are reminded that Ji-young didn't choose to play female parts; her vocal range determined this path at the behest of her mentor (She also faces body-shaming from senior performers who insist she lose weight to look the part for Chunhyang, the female lead). When Soo-bin suggests changing the script to give Chunhyang more agency, elder performers firmly reject any deviation from tradition. The final performance receives extended documentation and ultimately proves itself worth every struggle. It makes clear what distinguishes gukgeuk from other pansori-derived forms — its heightened theatrical expression and visual spectacle. The most captivating moments come from nonagenarians Lee So-ja and Cho, whose vocal precision and physical expressiveness display an almost uncanny vitality. At one point, the director asks Soo-bin why she persists with this dying art. Soo-bin's answer cuts through pretense, "Gukgeuk had to prove its existence throughout its life, and so did I. It's just like me." These words capture the personal stakes driving these women — not merely some abstract allegiance to preserving cultural heritage, but finding themselves reflected in an art form perpetually fighting for recognition. "Women's Gukgeuk: Enduring on the Edge of Time" opens Wednesday. moonkihoon@
