North Korea kidnaps filmmaker couple to boost propaganda films

In 1978, North Korea executed a high-profile kidnapping involving Choi Eun-Hee, a popular South Korean actress, and her ex-husband, Shin Sang-ok, a film director. This event occurred in Hong Kong when agents of North Korea captured Choi to have her create films that could bolster the country's cinematic reputation under dictator Kim Jong-il, who was heavily invested in cinema as a means of propaganda. When Shin ventured to Hong Kong to investigate Choi's disappearance, he suffered the same fate, ultimately enduring horrific treatment in a prison camp. While Choi experienced relative luxury during her captivity, Shin faced torture and isolation. In 1983, a twist of fate brought the couple together during an unexpected dinner in Pyongyang, organized by Kim Jong-il. Their reunion sparked the rekindling of their relationship, with Kim subsequently outlining his vision for the couple to produce large-scale films that could elevate North Korean cinema on the global stage. During their time in North Korea, they created several films, notably Pulgasari, framed as a North Korean twist on the Godzilla genre, showcasing the regime's ambition in visual storytelling. Their filmmaking journey, however, was tinged with difficulty and danger, stemming from the oppressive climate of their captors. Remarkably, in 1986, the couple managed to escape while attending a film festival in Vienna. They succeeded in eluding their guards, reaching the U.S. embassy where they sought political asylum. Following their defection, the narrative surrounding their kidnapping became complex. Many South Koreans initially believed the couple had collaborated willingly with the North Korean regime, a narrative promoted by the North. This misconception persisted even as the couple returned to South Korea in 1999, where they were met with a mix of intrigue and skepticism regarding their actual experiences during their captivity. The story of Choi and Shin is emblematic of the lengths to which oppressive regimes may go to manipulate culture and storytelling. Their tale is not just one of abduction and survival but also of the transformative power of cinema and its capacity to serve political agendas. As posited in the graphic novel, the blend of their real-life ordeal and the lore surrounding Pulgasari presents an intriguing entrance into the confluence of mythology and the harsh realities faced by those under such regimes.