‘The Blue Road’ Director Han Jun-hee: Playing Safe Is the Biggest Risk

During a masterclass at the Busan International Film Festival (BIFF), director Han Jun-hee emphasized that the greatest danger in filmmaking is playing it safe. Speaking as part of Netflix’s Creative Asia program ahead of his new series “The Blue Road,” Han shared insights into his creative philosophy and career trajectory.

The session, moderated by Kim Kijae, a long-time executive at Netflix Korea, took place before the Nov. 20 global release of the Korea-Japan co-produced thriller. Han, known for directing “Coin Locker Girl” and the military drama “D.P.,” argued that filmmakers must embrace bold risks to create engaging content.

“In Korea we call those gambles ‘go or stop,’” Han told the audience. “If you only make extremely safe choices, those safe choices can end up becoming the bigger risk.”

Han has a track record of tackling subjects that might be considered too niche for mainstream audiences, such as the Korean military’s pursuit deserters in “D.P.” and high school violence in “Weak Hero Class 1.” He noted that he often uses genre frameworks to package these themes, though he constantly questions whether doing so dilutes their uniqueness.

“When wrapping the material in genre, you have to wonder: does that genre neutralize its uniqueness and make it too ordinary? That collision is ultimately the defining moment of the work,” he said. “I believe there is no story that cannot be made into a film or series.”

Beyond directing, Han has served as a creator and producer on several projects. For “Weak Hero,” which faced concerns about appealing only to male viewers due to its violent content, Han implemented a strategy focusing on the three young leads: Park Ji-hoon, Choi Hyun-wook, and Hong Kyung. “I thought among the three, at least one would be a crush for someone,” he explained, believing the show had universal appeal.

Han also credited himself with launching the career of director Yoo Soo-min on the project, highlighting the importance of supporting emerging talent in Korea’s competitive industry.

More recently, Han created the Netflix mystery-horror series “Dead-End Job,” which premiered on Oct. 30. With Kim Da-min directing, the series follows a indebted young man who takes a hazardous part-time job at a staffing agency where every shift could be fatal. Han described the show as a “fantasy wrapper” for the harsh realities of earning a living, blending horror, black comedy, disaster, action, and mystery.

“The Blue Road” marks Han’s return to the director’s chair, adapted from a 2002 Korean-Japanese manga by Edogawa Keishi and Kwon Ka-ya. Starring Son Suk-ku and Nagayama Eita, the series was screened at BIFF’s On Screen section. Han stated he wanted to focus on intense actor-driven performances rather than massive visual effects.

Working with both Korean and Japanese crews presented distinct challenges. “In Korea we’re very flexible, adaptable and fast. In Japan they prepare everything very meticulously and are very precise in their execution,” Han observed. He noted that while initial misunderstandings occurred, both teams learned from each other, and the project evolved significantly, including multiple rewrites of the ending.

Closing with advice for aspiring filmmakers, Han stressed the role of luck alongside preparation. “Artistic work is still work,” he said. “If you’ve been doing your best to prepare, luck will come, and when that luck comes, you’ll be able to capture it.”