Director Maggie Kang expressed her amazement at the unprecedented global success of her Netflix film "KPop Demon Hunters" during a packed screening at CGV Yongsan in Seoul on Friday. The Korean Canadian filmmaker appeared genuinely stunned by the numbers that have already become legendary: over 210 million views worldwide, eight songs on the Billboard Hot 100 with "Golden" currently ranking as the most-streamed track in the United States, and the distinction of being Netflix's second-biggest original film ever while still climbing the charts.
"I can't believe it," Kang said in Korean, momentarily at a loss for words during the homecoming event in the city she left at age 5. "We never imagined this kind of love." The remarkable success marks a triumphant return for Kang, who seven years ago pitched what seemed like an impossible concept: a K-pop girl group that secretly hunts demons. Having previously worked as a story artist on animated films like "Rise of the Guardians" and "Puss in Boots," this Netflix project represents her directorial debut.
The film follows Huntrix, a K-pop trio whose impressive vocals and synchronized choreography conceal their true mission of protecting the Honmoon, a mystical barrier separating Earth from a dangerous demon realm. When the demon lord Gwi-ma launches a rival boy band designed to steal their fans' energy, humanity's survival literally transforms into a high-stakes K-pop popularity contest. While the premise might sound absurd, the film succeeds brilliantly because Kang and her team committed to making it as authentically Korean as possible.
The movie overflows with cultural details that Korean audiences immediately recognize, from the specific rituals observed in public bathhouses to the careful placement of napkins under spoons at restaurants, and even cars illegally parked on streets clearly marked with no-parking signs. Kang credits her Korean crew members with maintaining this level of authenticity throughout production. "They'd message me constantly saying 'Director, this doesn't make sense,' or 'That's upside down.' It was truly a team effort," she explained.
This obsession with cultural accuracy stems from more than just professional pride for Kang. She described a formative childhood experience that stayed with her throughout her decades in North America. "My second or third grade teacher asked where I was from. I said South Korea. She couldn't find it on the map. I had to point between China and Japan, but even then, the color was different. It showed up as some underdeveloped country. I was shocked. From that moment, I wanted to show what my country really was."
When asked what makes a film so deeply rooted in Korean culture resonate globally, Kang pointed to universal themes that transcend the K-pop surface. "Everyone wants love, security, acceptance," she said. "A 6-year-old at an early screening said she understood exactly what Rumi's fears were: She hides things from friends because she's scared of being judged. That's what this movie's really about: shame."
The topic of cultural identity emerged repeatedly throughout the conversation. "For 'gyopo' like myself, it's easy to feel an identity crisis," Kang said, using the Korean term for ethnic Koreans living outside Korea. However, she emphasized that she's never felt torn between different worlds. "I've always had a strong Korean identity. I introduce myself as Korean, sometimes forgetting the Canadian part. Keeping the language helped me stay connected."
Kang views her bicultural perspective as essential for the future direction of Korean content creation. "If we're serious about Korean culture going global, we need creators who know Korean culture intimately, but also understand other cultures. The idea of Koreanness has changed. There are many of us and our voices need amplifying," she stated.
For aspiring Korean content creators, Kang offered clear and straightforward advice: trust yourself. "Anytime you cater to their opinions instead of your own, it loses authenticity. Audiences can smell it. They want the real thing. That's the only way K-content can reach an even broader audience – show our culture exactly as it is, with confidence."
When discussing Korean artists who influenced her work, Kang became visibly excited talking about 1990s hitmakers Seo Taiji and H.O.T. "I was a huge fan – suddenly I'm this teenage girl again," she said with obvious enthusiasm. Director Bong Joon-ho's "The Host" also significantly shaped her creative vision, though she promised to save that particular story for the Busan International Film Festival next month, where she will present her personally curated selections alongside Bong as part of the festival's Carte Blanche program.
Regarding potential sequels, Kang remained coy but determined about future possibilities. "Nothing official yet. But we have so many backstories we haven't told, so many ideas," she revealed. Her concepts for upcoming projects suggest an expansive creative vision that extends well beyond a single musical genre. "Trot is huge right now," she said, referring to Korea's retro pop genre that remains beloved by older generations. "Maybe some heavy metal, who knows?"
