2025 on Tumblr: Trends That Defined the Year
Cosimo Galluzzi
Fai_Ryy
PUT YOUR BEARD IN MY MOUTH
occasionally subtle
Aqua Utopia｜海の底で記憶を紡ぐ
One Nice Bug Per Day
Cosmic Funnies
Game of Thrones Daily
🩵 avery cochrane 🩵
art blog(derogatory)
$LAYYYTER
@theartofmadeline
oozey mess
h
noise dept.
Jimmy Eat World
The Bright Sessions
"I'm Dorothy Gale from Kansas"
seen from Italy
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seen from Canada
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seen from United States
seen from Germany
seen from Ecuador
seen from United States
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@chungmuros
You know what's really scary? You want to forget something. Totally wipe it out of your mind. But you never can. It can't go away, you see. And it follows you around, like a ghost.
A TALE OF TWO SISTERS 장화, 홍련 (2003, Kim Jee Woon)
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It's a birth. The birth of a new humanity.
COLONY 군체 (2026) dir. Yeon Sang Ho
I'll take you to mom no matter what.
TRAIN TO BUSAN 부산행 2016, dir. Yeon Sang-ho
TRAIN TO BUSAN (2016) dir. Yeon Sang-ho
TJ MIKELOGAN's HALLOWEEN 2024 EVENT Day 3: Foreign horror
부산행 | Train to Busan 2016, dir: Yeon Sang-ho
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Train to Busan (2016)
KIM GO-EUN as Seol-hee
HERO 영웅 (2022, Yoon Je-kyoon)
Yes, I’ll get to Busan in an hour.
Train to Busan (2016) dir. Sang - ho Yeon
Happy 10 year anniversary Train to Busan!
DAILYWORLDCINEMA’S 5TH ANNIVERSARY EVENT day 2: favorite director — Hirokazu Kore-eda 🇯🇵
It’s easy to paint people as evil. And the audience wants that, because it means that they have a source where they can place blame for the injustices in the world. And then they can dust their hands off, because then it’s got nothing to do with them. I don’t want the audience to be able to shrug off responsibility so easily, and a version of that idea has crossed over into much of my work. (x)
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Happy Halloween: A Tale of Two Sisters (2003)
It can’t go away, you see. It follows you around like a ghost.
Park Ji-young in Lingering | 호텔 레이크 (2020) dir. Yoon Eun-gyeong
First look at "The Intern" starring Choi Min-sik and Han So-hee. It is a remake of the 2015 film of the same name with Robert De Niro and Anne Hathaway. Directed by Kim Do-young (Once We Were Us), it is expected to be released on September 16, 2026.
‘The King’s Warden’ Leads Korea to Best First Half Box Office Since Pandemic
Local films drove Korean box office recovery in the first half of 2026, with total industry revenue reaching KRW579 billion ($399.1 million) on 57.05 million admissions, up 41.9% and 34.2% year-on-year, respectively, according to figures released by the Korean Film Council (KOFIC).
Local titles accounted for the bulk of that growth. Korean-film revenue totaled KRW370.2 billion ($255.2 million) from 37.37 million admissions, an increase of 81.7% and 74.9% year-on-year. It is the strongest first-half showing for local cinema since the pandemic, with revenue now equivalent to 94.2% of the pre-pandemic first-half average calculated across 2017 to 2019.
International films generated KRW208.8 billion ($143.9 million) in revenue from 19.68 million admissions in the same period. Admissions dropped 6.9% year-on-year, but revenue still rose 2.3%, a gain the council attributed to heavy premium-format ticket sales for titles including “Project Hail Mary” and “Avatar: Fire and Ash.” Premium-format screenings made up 30.2% of total revenue for “Project Hail Mary” and 49.9% for “Avatar: Fire and Ash.”
He’s concerned that one actor isn’t seeing enough appreciation: Yeri Han, who plays Monica, the anxious wife of Steven Yeun’s idealistic Jacob. “In the editing room, she was the one who we were always centering our emotional story around,” Chung said of Han. “It’s her face, it’s her looks, and the way she picks at a bedspread because she’s upset. These little, subtle things that we knew: ‘This is making the film what it is.’” He paused. “And unfortunately, it’s invisible.” In Minari, Han navigates tricky, emotionally nuanced territory without the sort of melodrama or outsize performances that Hollywood tends to reward. “There are no loud speeches or anything,” Chung told me. “It’s just her being.” That’s the work that all actors do: the very act of being, which can range from emphatic to muted, animated to lethargic, impassioned to impassive. Asian performers are certainly versatile enough to capture that range—and yet tropes such as the “inscrutable Asian” have caused some casting directors to think of Asians as “not very expressive.” The pervasiveness of such casually racist myths—the inscrutable Asian, the perpetual foreigner, the racialized horde—is foundational to the invisibility of Asian actors during the Hollywood awards season. Given this backdrop, it’s little wonder when a quiet performance like Han’s is overlooked. — Shirley Li: ‘Minari’ and the Invisible Stars of Asian-Led Movies
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JI CHANG WOOK as CHOI HYUN SEOK COLONY (2026)
