06 October,2026 06:13 PM IST | Mumbai | mid-day online correspondent
South Korean actor Yoo Hae-jin. Pic via X
South Korean crime political thriller The Assassin(s) has landed in controversy over allegations that it distorts a significant chapter of the country's history. The debate escalated on October 4 when members of conservative civic groups gathered near lead actor Yoo Hae-jin's home in Seoul, demanding an apology from the film's team and calling for the movie to be removed from theatres.
Following the protest, Hae-jin's agency issued a statement addressing concerns over the actor's privacy and safety. The agency said it would take action against any conduct that crosses the line into threats or harassment, while also gathering relevant online material to protect the actor's rights. "We will take a firm stance against any actions that violate the actor's privacy, threaten his safety or tarnish his reputation," the agency said in its statement.
The controversy has also drawn a response from South Korea's Culture Minister Chae Hwi-young, who criticised the protesters for taking their objections to the actor's private space. In a social media post, he argued that while audiences have the right to assess a film, targeting its creators at their homes crosses a line when personal safety is involved.
The protest stems from the film's portrayal of a major political incident from South Korean history. The Assassin(s) centres on the 1974 assassination attempt on then-President Park Chung-hee. While Park survived, his wife, Yuk Young-soo, was killed during the attack.
The official investigation into the assassination concluded that Mun Se-gwang, a Korean resident of Japan, acted alone and had links to North Korea. However, The Assassin(s) introduces fictional possibilities involving potential involvement by government and intelligence officials.
That creative approach has drawn criticism from some groups, who have accused the film of distorting historical events and defaming individuals connected to the incident.
The filmmakers, however, have rejected those allegations. They have described The Assassin(s) as a fictionalised reconstruction inspired by historical records, rather than a definitive account of what happened.
According to the filmmakers, the movie does not point to any specific individual as being responsible for the assassination attempt beyond the established historical account, nor does it present its fictional scenarios as established facts.
The controversy has consequently extended beyond the film itself, with the debate now also raising questions about the boundaries between historical interpretation, creative freedom and personal privacy.
