#RYUJIN was spotted attending the VIP premiere of “Still Shining” 여전히 찬란하게 (2026) today, starring Kim Hyeja.

CINE21 has published its review of #Shaving (#면도), which premiered in the Competition section of the 31st Busan International Film Festival. “Horror novelist Suyeon (Roh Jeongeui), who declared three years ago that she was quitting writing, announces that she plans to write a new novel. At last, she hints at a comeback, saying, “I’m going to tell my own story.” However, those around her, who know why she fell into writer’s block, express concern rather than support. Suyeon herself is anxious, as she simply cannot bring herself to finish the novel’s ending. Her boyfriend, Shinji (Kasamatsu Show), travels to Korea to spend the holiday with her. Their holiday destination is a studio that still holds traces of Suyeon’s late father (Son Byungho). In this place, where an ominous atmosphere somehow lingers, Shinji cuts his face on an old razor. From that moment on, his personality changes completely, and his transformation reopens the wounds Suyeon has kept buried for the past three years. The mystery horror film Shaving explores several layers of fear. The first is the fear of body snatching. The film meticulously depicts the terror of having the person you trusted, your lover, treat you as a threat despite retaining the exact same outward appearance, as the subtle sense of unease gradually infiltrates and consumes your everyday life. Alongside this comes the various manifestations of toxic masculinity that seek to dominate a relationship and dictate its terms, as well as the blind spots of dating violence, in which the violence that occurs in the process is dismissed as a woman’s fabrication or delusion. The body-snatcher formula employed by Shaving also combines with the genre thrills of creature horror. Following the razor’s infection, Shinji’s appearance becomes distorted and mangled, resembling the figures in Francis Bacon’s paintings. The creature design, rarely seen in Korean cinema, delivers just the right amount of visual shock that audiences might expect. The film’s final 30 minutes, during which it hurtles out of control regardless of causality or the laws of physics, resemble the style of Charlie Kaufman-esque horror. In a distorted space-time, fragments of the inner self are arranged into multiple faces, provoking an existential anxiety about what it means to be human.” 🔗 cine21.com/news/view?mag_id=…