Released in late September 2026, the historical drama film Assassin(s) has surpassed 3 million admissions by mid-October, securing a strong box office run while triggering intense political debate and legal discussions regarding its portrayal of the 1974 assassination attempt on President Park Chung-hee and the tragic death of First Lady Yuk Young-su.
Box Office Momentum and the 3 Million Admissions Milestone
Directed by Huh Jin-ho and produced by Hive Media Corp, Assassin(s) has maintained a robust theatrical presence despite outside controversies. By October 17, 2026, the film recorded a cumulative audience of 3,139,162 admissions, holding the top spot at the South Korean box office for 18 days according to official box office data. Industry estimates place the production’s break-even point between 3.3 million and 3.7 million admissions as tracked by trade reporting.
The feature stars actors Yu Hae-jin, Park Hae-il, and Lee Min-ho, alongside a broad roster of special appearances from prominent names including Jung Woo-sung, Park Jung-min, Uhm Tae-woong, Park Sung-hoon, Shim Eun-kyung, Park Ji-hwan, Park Hae-jun, Shin Hyun-bin, Oh Jung-se, Lim Won-hee, Ryu Kyung-su, Park Hoon, and Uhm Ji-won. Audience reception across ticketing platforms has remained high, registering a 92% Golden Egg index on CGV, a 9.2 rating on Lotte Cinema, and an 8.9 rating on Naver based on real-viewer reviews.
Political Clashes, Protests, and the Controversy Over Historical Portrayals
The film’s narrative centers on the 1974 National Theater shooting during Liberation Day ceremonies on August 15, 1974—an event in which Moon Se-kwang attempted to assassinate President Park Chung-hee, resulting in the death of First Lady Yuk Young-su as established by formal judicial records. Critics, including ruling party politicians, argued that the film introduces conspiracy theories by suggesting central intelligence elements or higher-level authorities might have abated or engineered the incident.
Opposition escalated as conservative groups launched protests outside the residence of Yu Hae-jin, demanding apologies and the cessation of screenings while political figures debated the project during legislative audits. In response to safety concerns and public friction, the production team canceled scheduled appearances at the Busan International Film Festival while international hurdles also emerged.
When 109 lawmakers from the People Power Party sent an official letter to the Singapore International Film Festival requesting the withdrawal of Assassin(s) as its opening film, festival organizers declined the request stating that they respect the creative vision of the filmmakers. Meanwhile, Seoul police provided temporary protection to Yu Hae-jin before lifting the security detail at the actor’s own request following statements delivered during the Seoul Metropolitan Police Agency’s parliamentary audit.
Legal Boundaries, Defamation Debates, and Constitutional Protections
Legal analysts examining the controversy note that criminal defamation charges regarding deceased historical figures face high thresholds under South Korean law. Under Article 308 of the Criminal Act, proving defamation of the dead requires establishing specific false statements made with malicious intent alongside procedural requirements where surviving family members must file complaints directly. Legal experts point out that because the film displays a notice at its opening indicating that specific characters and events are dramatized works of fiction, courts typically interpret such projects as creative expression rather than direct historical reporting drawing comparisons to previous judicial precedents involving historical dramas.
Civil liability, however, remains a separate domain where courts weigh the infringement of surviving family members’ personal rights and emotional grief as observed in previous litigation concerning media depictions of modern Korean history.
Journalistic Reflections on the 1974 Press Freedom Movement
Beyond the central political debate, the film incorporates storylines reflecting the press freedom struggles of reporters during the Yushin dictatorship including references to the October 24, 1974 Free Press Practice Declaration issued by journalists at Dong-A Ilbo. Lee Boo-young, chair of the Dong-A Committee for the Struggle for Press Freedom who participated in the 1974 declaration and subsequently faced imprisonment and dismissal, offered a positive assessment of the film’s historical backdrop.
We received a deeply touching feeling because it relates to our own experiences. The film relatively and objectively portrayed the situation of that era, and the scenes where central intelligence agents stationed themselves in newspaper offices to censor articles and interrogate reporters accurately reflected how those events happened on a daily basis.
As box office figures approach mid-October milestones, institutional leaders such as Korea Creative Content Agency President Kim Yoon-ji noted during a parliamentary audit that films are spaces for imaginative storytelling that can encompass various narratives while emphasizing that creators must be shielded from personal attacks that stifle artistic work.
