[Edaily Starin YUN GI BACK Reporter] As the Ministry of Culture, Sports and Tourism moves to conclude a voluntary agreement this month—a “holdback” period—that defers the release of theatrical films on Over-the-Top (OTT) services for 150 days from their theatrical release date, voices within the film industry are arguing that ensuring “diversity in theater screens” must come first. Critics point out that simply delaying online releases while leaving the current structure—where screening rooms are concentrated on specific blockbusters—intact could harm both production and distribution companies as well as audiences.

◇Two blockbusters account for 7 out of every 10 screenings… an even narrower range of choices
According to the Korean Film Council’s integrated computer network, from the 17th to the 23rd, the number of screenings for the box office No. 1 film, “Odyssey,” was 43,387—more than six times that of the No. 5 film, “OK Madam 2” (7,060 screenings). When combined with the No. 2 film, “Spider-Man: A Brand New Day” (22,265 screenings), these two films account for approximately 69% of all screenings in the top 10. This means that 7 out of every 10 theater screenings are concentrated on these two films.
In contrast, “Hope,” which opened last July and has surpassed 4.5 million cumulative viewers, had only 2,446 weekly screenings in its sixth week of release—just 5.6% of “Odyssey’s” total.
A film industry insider pointed out, “Even films starring top actors, like ‘Hope,’ are unable to compete with Hollywood blockbusters and are being pushed off the screens in just over a month,” adding, “This highlights the problem with the domestic distribution structure, where screens are concentrated on specific blockbusters.”
This concentration is also evident at individual theaters. “A Trip to Gyeongju,” opening on the 26th at CGV Gangbyeon, is scheduled for five screenings on its first day, while “The Odyssey,” now in its 20th day of release, is scheduled for 19 screenings.
Critics also point out that as screening rooms and prime time slots are concentrated on specific blockbusters, smaller-scale films are pushed into less popular time slots right from the start of their release. Although distributors and actors are actively engaging in on-stage greetings and social media promotions, there are limits to overcoming a screen allocation structure centered on blockbusters.

◇Out of theaters but still unavailable on OTT?… A 150-day “distribution gap”
Consequently, voices within the film industry are calling for discussions on measures to guarantee a minimum screening period or screening opportunities at theaters, in addition to the holdback period. This is because delaying the online release of films—including those that did not receive sufficient screening opportunities in theaters—by 150 days could make it significantly more difficult for production and distribution companies to recoup their investments.
Another issue cited is the structural characteristic of the Korean film market, where box office success is concentrated in the early days of a film’s release. “The Man Who Lives with the King” surpassed 10 million viewers just 31 days after its release. This year, “The Army” also recorded 42.9 billion won in revenue and 4.03 million viewers within the first two weeks of its release. This accounts for 68.5% of the film’s total revenue and 67.7% of its total audience.
In contrast, in Japan, there are cases where films build up their box office success later through extended runs. The Japanese film *National Treasure*, directed by Lee Sang-il, a Korean living in Japan, surpassed 10 million viewers just 102 days after its release. By continuing its run for an extended period and attracting audiences, it became the second Japanese live-action film in history to surpass 10 million viewers.
An industry insider stated, “For Korean films, box office success is effectively determined by their performance during the first weekend and the following two weeks,” adding, “Since theaters quickly concentrate their screens on films that have proven to be hits, the window of opportunity for small and medium-sized films to survive is becoming even shorter.”

◇“What’s More Important Than 150 Days Is How Long Theaters Screen the Film”
Ultimately, the crux of the issue lies not in the number “150 days” itself, but in how much screening time and opportunity theaters will provide to a film.
Lee Hwa-bae, president of the Distribution Companies Alliance, said at a press conference on the 24th condemning the “voluntary holdback agreement”: “In the Korean film market, only films that reach 10 million viewers can typically stay in theaters for about three months; most films end their theatrical run after about six weeks,” adding, “It is current industry practice to sell individual purchase video-on-demand (TVOD) upon the end of the theatrical run and to offer subscription-based services about 2.5 months later.”
He went on to point out, “If they propose that OTT—which is at the very bottom of the distribution chain—should release the film 150 days later, without even discussing how long theaters will screen it or when sales in the secondary market will begin, it’s inevitable that those in the industry will be confused.”
He also highlighted the potential for a gap between the end of theatrical runs and subsequent distribution as a problem. He explained that there could be a period during which a film has already been removed from theaters but cannot be sold or released online due to holdback restrictions.
CEO Lee stated, “If the secondary and online markets are simply pushed back without any commitment or promise from theaters to extend their runs, a gap will emerge where theatrical runs have ended but the secondary market hasn’t started yet, resulting in revenue losses for operators.” He added, “Audiences will also find themselves in a situation where they cannot watch a film online that has already been pulled from theaters. Therefore, the 150-day deadline itself is a secondary issue.”