[Edaily Starin YUN GI BACK Reporter] Although it drew over 3.3 million viewers and surpassed its break-even point, its presence as a box office hit is not particularly strong. This is the story of the film “The Assassin(s),” which attracted audiences even amid controversy over historical distortion. While it clearly performed well—ranking fourth among this year’s highest-grossing Korean films—the recent sharp decline in its box office draw paints a very different picture. The mixed performance of *The Assassin(s)* highlights the gap between the box office success of individual films and the reality of the Korean film market.

◇ Past the Break-Even Point, but… Box Office Frenzy Quickly Fades
According to the Korean Film Council’s integrated computer network on the 23rd, *The Assassin(s)* had recorded a cumulative audience of 3,306,083 as of the 22nd. Just one month after its release on the 23rd of last month, it surpassed the 3.3 million mark—often cited as the break-even point.
“The Assassin(s)” is a film that investigates the suspicions surrounding the 1974 assassination of First Lady Yuk Young-soo. Although it faced controversy over historical distortion and a boycott movement both before and after its release, it managed to attract audience interest amid the controversy and surpassed 3 million viewers. Positive reviews from actual moviegoers also contributed to its box office success.
However, the film’s recent box office performance has shifted significantly from its early days. “The Assassin(s),” which once held the top spot at the box office, has since ceded the number one position to the Japanese anime “Chiikawa” and is now being overtaken by new releases. On the 22nd, it ranked third at the box office, behind “Chiikawa” and “Paradise Lost.” Daily attendance has also dropped to around 10,000, indicating a noticeable weakening of its box office momentum.
A decline in audience numbers is a natural phenomenon for a film that has been in theaters for over a month. However, it is worth noting that the film’s box office performance feels less impressive compared to its cumulative total of 3.3 million viewers. While the controversy served as a catalyst for public interest, it appears there were limits to how much this buzz could translate into sustained audience turnout over the long term.

An interesting point is the shift in the break-even point. Initially, the break-even point for *The Assassin(s)* was reported to be approximately 3.7 million viewers, but after factoring in overseas sales and ancillary rights revenue, it has recently been cited as around 3.3 million. This illustrates an industry environment where it has become difficult to judge a film’s profitability based solely on theater attendance. Revenue from outside the theater—such as overseas pre-sales, Over-the-Top (OTT) services, and Video on Demand (VOD)—has emerged as a key variable in recouping investment.
◇3.3 Million Viewers, 4th Place for the Year… Changing Standards for Box Office Success
What is even more noteworthy is the fact that a film attracting 3.3 million viewers ranked fourth among Korean films at the box office this year. A performance that would have been considered a moderate box office success in the past now places it among the very top this year. This is not only a testament to the success of *The Assassin(s)* but also indicates that the box office base for the Korean film market has narrowed significantly.
In particular, amid the strong presence of foreign films and Japanese animation, Korean films—with a few exceptions—are struggling to secure a stable audience. The virtuous cycle in which films drawing millions of viewers appeared one after another to drive the entire market, as was the case in the past, has also weakened. In short, it has become difficult to gauge the overall vitality of the market based solely on a film’s ranking among the top box office hits.

Lowering the break-even point through revenue generated outside theaters is a positive development for production companies and investors. However, an individual film recouping its investment is a separate issue from the Korean film market regaining its vitality. This is because while diversifying revenue streams can support the survival of the film industry, it cannot restore the declining audience demand itself.
A film industry insider pointed out, “The performance of *The Assassin(s)* shows that the box office success of a single film does not necessarily signify a recovery of the Korean film market,” adding, “While securing revenue outside theaters is important, it is ultimately the audience that determines the sustainability of the film industry. We shouldn’t be satisfied with simply lowering the break-even point; we need to create reasons for audiences to return to theaters.”