In January 2026, South Korean theaters will test the new year with two attention-grabbing releases: Heartman, led by Kwon Sang-woo, and Project Y, starring Han So‑hee and Jeon Jong‑seo.
Heartman positions itself as a family comedy built around a father‑daughter relationship and the familiar pairing of actor Kwon Sang‑woo with director Choi Won‑seop.
Project Y arrives as a crime‑noir piece that could refresh the seasonal slate with darker tone and adult themes.
With fewer Korean titles opening overall, each release carries greater weight for box office and industry momentum.
What do theaters’ early choices tell us?
The January 2026 Korean release calendar is now set.
Notably, Heartman opens on January 14, 2026, and Project Y follows on January 21, 2026.
These two films offer clear contrasts in genre and tone, providing an early test of audience appetite.
Meanwhile, the timing matters more because the total number of Korean openings has fallen, so each title commands more attention than in busier seasons.
Heartman frames itself as a family comedy about a middle‑aged divorced father raising his nine‑year‑old daughter, aiming for laughs and warm emotion.
Project Y takes a crime‑noir approach centered on characters with backgrounds in the nightlife world, promising tension and moral ambiguity.
Running times and age ratings are public: Heartman is about 99 minutes and carries a Korean 12+ rating (ages 12 and up), while Project Y runs roughly 108 minutes with a Korean 15+ rating (ages 15 and up).
This piece reviews plot outlines, casting, and production context, then assesses box office prospects and broader meaning for the industry.
It is easy to read mood and intent from press images.
However, practical audience turnout will hinge more on planning—how producers and distributors position these films in marketing and exhibition.
At this stage, watch which selling points each side emphasizes: star partnerships, family hooks, or genre edge and critical buzz.
Heartman — Between comfort and familiarity
Attention is focused.
Heartman positions itself for January 14 as a mainstream family comedy.
The reunion of director Choi Won‑seop and actor Kwon Sang‑woo functions as a primary selling point. Kwon is a familiar face to Korean moviegoers with a track record in commercial films.
The film is adapted from the Mexican title No Kids, Please (2021), and the key question is how the story is localized to fit Korean family dynamics and humor.
Supporting cast includes Park Ji‑hwan, Pyo Ji‑hoon, and child actor Kim Seo‑heon, whose chemistry will shape the film’s comedic timing.
The Kwon–Choi duo’s brand power could draw an initial audience.
On the other hand, retitling and overt linkage to previous hits invite criticism about playing it safe.
Some critics have already noted the film’s choice of a conservative, audience‑pleasing formula rather than bold reinvention.
Nevertheless, family audiences—especially households who go to the movies together—could provide a reliable box office base.
Heartman’s box office scenario will likely take cues from the team’s past hits, notably the Hitman series, which drew roughly 2.4 million and 2.54 million admissions for its installments.
However, repeating raw numbers is not automatic; audience fatigue can set in if marketing leans solely on familiarity.
Therefore, the marketing strategy should add fresh emotional beats or comedic hooks while keeping the comforting family theme.
Ultimately, converting family sympathy into repeat visits depends on how well the film expands its emotional reach beyond the obvious setup.
Project Y — Reworking noir
Tension is in the air.
Project Y, set for January 21, emphasizes a crime‑noir palette.
The pairing of Han So‑hee and Jeon Jong‑seo boosts both mainstream and cinephile interest—each actor brings a distinct following and a reputation for intensity.
The plot follows two friends from the nightlife world trying to quit and save money, only to be pulled into a web of illegal cash and hidden gold that triggers betrayal and escalating danger.
This angle directly targets adult viewers who favor noir and crime thrillers.
A genre departure like this can offer a refreshing contrast in a market heavy on rom‑coms and familiar formulas.
However, noir typically appeals to a narrower audience, so distribution must execute careful, phased targeting and sustain actor‑led publicity.
With a higher genre emphasis, the film’s aesthetic quality and critical reception will quickly affect box office longevity.
Project Y’s path to success splits into two tracks.
First, mobilize fan interest and star power for an initial opening surge through social media, interviews, and clip releases.
Second, rely on word‑of‑mouth and critical discourse to secure mid‑to‑longer‑running business.
In that process, how the film balances moral complexity and portrayal of crime will become a point of public discussion.
If the story is seen as thoughtful rather than exploitative, it will have a better chance to sustain audience interest beyond opening weekend.
Market context and structural pressure
There is structural stress.
Recently, the Korean film market has shown a downward trend in the number of new releases.
This pattern reflects more cautious production decisions, smaller investment pools, and a distribution‑exhibition system that favors proven commercial projects.
The result is that every new release draws concentrated attention and criticism, which in turn pushes studios toward safer, less experimental content.
Fewer releases risk narrowing cultural diversity on screen.
Investment focused on big IPs and familiar genres can crowd out emerging directors and unusual stories, weakening the industry’s creative ecosystem over time.
At the same time, scarcity can offer opportunities for individual films.
With less competition in a given week, focused marketing can generate a strong short‑term impact and take advantage of concentrated audience attention.
Producers should therefore plan precise opening strategies: family packages and weekend programming for Heartman, late‑night screenings and festival runs for Project Y to reach critics and serious viewers.
If either film secures a loyal audience niche, it can achieve steady returns even in a tighter market.
Two views: welcome and caution
Two perspectives collide.
Positive perspective
There is real reason for optimism.
For Heartman, the Kwon–Choi partnership offers important initial traction. Past commercial success suggests a baseline audience, especially among family groups and viewers in their 30s and 40s who seek reliable entertainment.
Project Y adds diversity to the slate; Han So‑hee and Jeon Jong‑seo draw attention from younger adults and film enthusiasts alike.
If both films perform well, they may encourage investors to back genre experiments, creating a positive cycle for creative risk taking and job growth in production.
Critical perspective
Concerns remain.
Heartman faces criticism that leaning on known brands and established formulas risks delivering predictable entertainment.
Title changes and marketing that trade on earlier hits can help in the short term but may accelerate audience fatigue.
Conversely, Project Y’s noir focus is a strength yet a market constraint: if it fails to find its niche quickly, financial breakeven becomes harder.
Unless the broader issue of fewer releases is addressed, individual successes will be less likely to translate into systemic change for the industry.
In short, without continued attention to craft, distinct marketing, and structural support, any box office wins may remain isolated events.
Practical responses and takeaways
Action is required.
From a marketing standpoint, segmentation and platform mixing are essential.
Heartman should pursue family bundles, weekend programming, and partnerships with family‑oriented outlets.
Project Y should explore late‑night screenings, festival showings, and critic previews to build credibility among adult viewers.
Industry‑level responses include diversifying financing, offering incentives for first‑time directors, and protecting exhibition space for experimental works.
Expanding venues and programming will help expose audiences to different genres and reduce the dominance of safe bets.
In short, combine short‑term promotional precision with long‑term support for creative diversity.
Conclusion — Questions the new year leaves on the screen
To summarize the key points:
Heartman and Project Y are symbolic releases that reflect the industry’s current condition.
Heartman offers comfort and familiarity; Project Y brings genre experimentation and a chance to broaden choices.
However, the decline in the number of releases and conservative planning remain unresolved structural concerns.
Audiences, in the end, demand both novelty and craft.
So ask yourself: what change would you most like to see in the cinema lineup this new year—more variety, bolder storytelling, or safer hits that deliver predictable enjoyment?
