Hurricane days followed Lee Jung-jae as a rising star. Just over a year ago he was already a recognized actor, especially in South Korea and one of the leading figures in Asian cinema. Then came Squid Game, a breakout hit that shattered records and became Netflix’s most-watched series in its first 28 days, according to the platform’s data. Nobody saw it coming, and neither did he. If the global surge makes sense to anyone, it is because audiences saw themselves in the show, as El Periódico de Catalunya noted: a society where the urge to win can feel like a daily race, where the stakes are palpable and the messages hit home. People watched, then understood the world it portrayed and the dynamics at play.”
Lee soon claimed top honors for his portrayal of Seong Gi-hun, the 456th participant in a brutal, addictive test that doubles as a critique of ruthless capitalism. He also earned an Emmy for Outstanding Actor in a Drama Series, a milestone for performances in a non-English language, marking a turning point in global television recognition.
Yet the wave does not end with the triumphs of Squid Game. Lee’s ascent continues with a foray into directing, guided by his appetite for storytelling. His directorial debut, The Hunt, is a spy thriller that premiered in theatres in 2023 after a stint in the Sitges festival’s Òrbita section, signaling a new chapter in his career beyond acting.
man of intuition
Set during South Korea’s 1980s military period, The Hunt follows two national security officers as they pursue the enigmatic Donglim, a North Korean spy, with the KCIA’s ranks as the backdrop. Lee joined the project as an actor and, after proposing changes to the screenplay, also stepped into the director’s chair. That dual role sharpened his control over the film’s atmosphere and tempo, underscoring his instinct for storytelling that fits the moment.
The Hunt carries echoes of classic crime thrillers, and its energy feels reminiscent of Michael Mann’s Heat in certain set-pieces. Lee has acknowledged that the violence and the tools of the trade share a lineage with such influences, yet he emphasizes that the connection is not a deliberate homage. When pressed about specific reference points, he points instead to a personal approach: everything grows from his own sense of what the scene needs and how best to convey it. His method is simple: he expresses ideas through action, not mere words, and his style grows from his own perception of the material.
More than thirty movies
Lee’s journey began as a model before he moved into television, starring in the hit series Sandglass. His film debut arrived in the late nineties with A Relationship, followed by a string of notable titles. The 2010 remake of The Maid brought him wide attention, and he later appeared in the blockbuster Big Hit and the award-winning New World. Sitges audiences also saw his work in tense thrillers such as Save Us from Evil and The Chaser, with screenwriter Hong Won-chan overseeing the latter. With more than thirty screen credits, there is hardly a single performance that stands apart as the sole highlight; colleagues joke that each role is like a finger on his hand—tell me which finger you’d rather miss. His collaborations span a diverse roster of directors, and he remains grateful to pioneers like Bae Chang-ho, who gave him his first big break on the big screen with The Young Man.
Fans expect to see him again soon in projects including Acolyte and future Star Wars material set during the High Republic era, long before the Skywalker timeline. When asked about specifics, he keeps details under wraps, noting that some things are not ready for public discussion yet. The sense at the moment is that his influence is expanding beyond South Korea’s borders, reaching audiences in North America and beyond, driven by a growing appetite for their storytelling styles and cinematic rhythms. The next chapters will be watched with the same curiosity and anticipation that accompanied his earlier triumphs.