Exhuma

This podcast is recorded in Bulu, Western Australia, sovereignty never ceded.

If you are in Sydney over the last week of October 2026, from the 27th of October through to the 31st of October specifically, you're in for a bit of a treat with Hell House, which is an really, really, really impressive array of films that are being screened at the Sydney Opera House, starting off with Exuma and following up with Angel's Egg, Hex, Little Shop of Horrors, Haxan, Pan's Labyrinth, Evil Dead 2 and The Babadook.

It is a really impressive array of horror films, if I can even say the word horror.

It is such an unsettling word to say.

And

we're also living in an era that, like Autopsy of Jane Doe, you have Exuma and you have The Wailing.

These are wildly different movies that all kind of oddly fit into this subgenre.

That's what I like about horror.

What was the other Japanese one that you were like? It had something to do.

I think it's called Exuma.

Exuma.

Exuma.

Which is like they exhume a body from a grave.

Okay, I have heard about this.

So you can have horror without it necessarily being horrific in terms of the visuals, and certainly for horror, for the type of horror that I enjoy, is, is certainly more towards that end.

And then you maybe have something in the middle, you know, like, um, the South Korean film that we're showing, Exhuma, which is maybe a little bit of column A and column B there.

But what I love about that particular title, and, and I guess I'm singling that out because it's what I like about horror too, there's a really fascinating kind of underlying story in Exhuma about colonization, about war, um, about the kind of the remnants of those types of skirmishes from centuries ago and how it permeates not just in terms of the c- you know, contemporary psyche, but literally how objects of war can be, uh, rediscovered long after the fact and, and what that means.

I love to e-Exhuma because of the, the story that it was telling, and I hadn't really seen that story before, Korean's perspective of, of, of the Japanese, um, invasion.

The fact it was a horror is almost per secondary there.

With that international program, do you think there's something happening in horror cinema internationally that Australians maybe not aware of and are just touching on? I mean, we have a vibrant horror genre growing in Australia.

Oh, yeah.

I watched Colin's, I, I watched, uh, your Exhuma.

Oh, yeah, yeah.

Oh.

What?

Or Exuma.

Yeah.

Oh, yeah.

[laughs] Yeah, that's it, Exuma.

Not eczema.

Probably.

We did that, we did that movie on the show.

She talked about transforming into the raw and self-protective Jae-hee for the film A Love Story of a Big City, saying she wanted to be like a caring older sister figure to a character navigating the confusion of young adulthood.

Kim also reflected on playing a shaman with sharp professional instincts in Exhuma, admitting she obsessed over tiny gestures to avoid any hint of amateurishness, and shared that she carries heavy stress before filming but learns to let it go once she steps on set.

She looked back fondly on her five years of collaboration with the director of Yumi's Cells, calling the series a defining chapter that helped shape her 30s, and expressed deep satisfaction with how its three seasons wrapped up.

Staying humble despite her many successes, Kim closed by promising fans that she still has many unseen sides left to show, keeping everyone curious about what new face she'll reveal next.

Christopher Nolan's epic The Odyssey just crossed another major milestone, pulling in over 12 million moviegoers in South Korea.

Industry reports show the film added about 47,000 viewers on October 5th alone, pushing its total past 12 million and 4,000, which lands it at number 21 on the all-time domestic box office chart, officially passing hit films like Paegukgi and Exuma.

Among foreign films specifically, The Odyssey now ranks in the top five of all time, trailing just behind Aladdin by around 500,000 admissions and closing in on Avatar for third place.

This marks Nolan's second ever 10 million admission film in Korea, and remarkably, it hit that benchmark just 33 days after its August 5th release.