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Lim Sang-soo (임상수)

Male - 1962/04/27

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Biography

Born in 1962, he majored in Sociology at Yonsei University and studied film at the Korean Academy of Film Arts (KAFA). From his feature debut"“Girls’ Night Ou", "Tears", "A Good Lawyer’s Wife" to "The President’s Last Ban", he has depicted the liberal sexual desires or the hounding political restlessness of his lead characters while critiquing the ironies and maladies of Korean society. He earned both critical and commercial acclaims as his films were continuously invited to internationally renowned festivals such as Panorama Section in Berlin Int’l Film Festival with "Tears", Venice Film Festival with " A Good Lawyer’s Wife" and Directors’ Fortnight in Cannes with "The President’s Last Bang".

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Lim Sang-soo | News

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  • Kim Hyo-jin, four weeks pregnant

    2013/12/23, Source,
    Actress Kim Hyo-jin is pregnant. It's been about 4~5 weeks according to her agency,...More
  • Upcoming Korean movie "There's No Today"

    2013/12/20, Source,
    Added the upcoming Korean movie "There's No Today"'s page to HanCinema database,...More
  • [HanCinema's Film Review] "The Taste of Money" : Tasty Money

    2013/01/19,
    Film: " The Taste of Money" 돈의 맛 (Don-eui Mat) Director:  Lim Sang-soo Stars:    Kim Kang-woo, Baek Yoon-sik, Yoon Yeo-jeong & Kim Hyo-jin Review Score:  2.5 / 5 Lim Sang-soo came back from the 2012 Cannes Film Festival bitter and dispirited as "The Taste of Money" received the lowest average rating from their panel of internal critics. This, Lim's fifth film, also struggled at the Korean box office with a mere 1,162,699 admissions as this 'spirited' sequel to his 2010 remake "The Housemaid - 2010" failed to perform both local and abroad. Last year the Korean box office was smothered with sexy thrillers and dramas, some more successful than others, leaving many cinephiles and critics to question the significance and scope of such provocative films. Lim's 2010 remake of "The Housemaid" was also met with scepticism and received a lot of public attention due to its uninhibited portrayal of the salacious and disturbing world of Korea's wealthy elite. Those who caught Lim's modern interpretation of Kim Ki-young's 1960s classic will instantly recognise the film's grand and opulent veneer as the fantastically rich play with power, money, sex, and, of course, fire.,...More
  • [Guest Post] Daniel Tudor on Korean cinema

    2012/11/09, Source,
    I'm not a true cinephile by any stretch of the imagination. I've always been the archetypal casual fan, who knows what he likes, but doesn't really like it enough to remember every line of the script. People ask, "have you seen [insert name of genius film here]?" and I honestly reply "yeah, I saw it a few years back, it was great". But then I'll be unable to back that up with any enlightened commentary on that scene with the uninterrupted shot that goes all the way around the bar and back again when all the mobsters are being introduced. Or even who was in it, sometimes. But when I first moved to Seoul in 2004, Korean cinema got to me. In some way it was a stroke of luck to be here while a golden era was still in swing,...More
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Lim Sang-soo (임상수)

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