'왕과 사는 남자' 1475만 관객 돌파, 역대 3위 등극
과거보다 2배 늘어난 스크린 수·상영 횟수
SNS 입소문과 포모 현상 나타나기도
과거보다 2배 늘어난 스크린 수·상영 횟수
SNS 입소문과 포모 현상 나타나기도
Kim Ji-won's Kakaotalk
Today's story, candid and critical. TenAsia's reporter Kim Ji-won critiques entertainment industry issues with a discerning eye.
Director Jang Hang-jun's 'The King and the Man' has surpassed 14.75 million viewers in just 47 days since its release, climbing to third place in the all-time box office rankings. This success reflects a shift in metrics and consumer behavior compared to the past. Unlike 'Roaring Currents,' which attracted 17.61 million viewers, 'The King and the Man' achieved its numbers with more screens. While blockbuster films used to 'emerge,' they are now increasingly 'manufactured.'
Analyzing historical box office data (based on the integrated ticketing system), recent hits show a dramatic increase in the number of screens and showings. Among the top 20 films, those released between 2009 and 2014 had an average of 900-1300 screens and 160,000-200,000 showings. In contrast, films like 'Spring in Seoul' and 'Exhumation' released between 2022 and 2026 had an average of 2300-2500 screens and 350,000-370,000 showings, nearly doubling the previous figures.
Comparing 'Roaring Currents,' the all-time leader, with 'The King and the Man,' now in third place, highlights this difference. 'Roaring Currents,' released in 2014, was shown on 1587 screens 180,000 times, attracting 17.61 million viewers. Meanwhile, 'The King and the Man' in 2026 was shown on 2262 screens 350,000 times, drawing 14.75 million viewers (as of March 22). This indicates a shift from attracting audiences per screening to achieving success through sheer volume, prompting reflection on whether blockbusters are 'born or made.'
Moreover, dedicating more screens for longer periods to profitable films accelerates the emergence of blockbusters but also marginalizes smaller films. Instead of multiple films growing together, there's a concentration on single hits. This winner-takes-all structure exacerbates the polarization of the film ecosystem.
Another noteworthy aspect of 'The King and the Man's success is its unusual box office trajectory. Typically, a film's fate is determined by its opening week, but 'The King and the Man' had its lowest score in the first week. Even director Jang Hang-jun admitted, "The first day's score was half of what I expected. I was despondent, thinking it wouldn't break even at 2.6 million." Contrary to expectations, the film's audience grew from 1.16 million in the first week to 2.32 million in the second, 2.69 million in the third, and 3.18 million in the fourth week, an exceptional case.
This suggests that post-release word-of-mouth, alongside pre-release strategies like advertising and previews, plays a crucial role in attracting audiences. Additionally, short-form content on platforms like TikTok and Reels, along with social media challenges and reviews, have turned film consumption into a trend. The fear of missing out (FOMO) compels audiences to watch the film to stay in the conversation.
The success of 'The King and the Man' parallels the trend of 'Dubai Chewy Cookies' (Doojonku). Both involve the thrill of participating in a trend through social media, the satisfaction of being part of a cultural moment, and the pursuit of valuable experiences. Just as people willingly paid over $8 for Doojonku, audiences are paying $15 for movie tickets, reflecting a shift towards value-driven consumption.
However, this monopolistic structure ultimately lacks diversity and quickly tires audiences. Just a month ago, everyone was eager for Doojonku, but now it's become surplus stock. The blockbuster journey of 'The King and the Man' also involved a monopolistic structure. If the film industry fails to restore diversity, current successes may be fleeting, much like Doojonku. This is why 'The King and the Man's blockbuster status could be a mixed blessing for the film industry.
Film critic Lee Hyun-kyung commented, "Regardless of the film's quality, the blockbuster journey of 'The King and the Man' was rare and exceptional. While it's heartening to see a blockbuster emerge in tough times, sustaining this trend may be challenging."
Kim Ji-won, TenAsia Reporter bella@tenasia.co.kr