In the first half of 2023, only one film in the Korean film market was profitable, no new films were invested in the second half of the year, CJ Entertainment, the largest film company in South Korea, suffered a total loss of 80 billion Korean won in the first and second quarters, and as many as 323 Korean films had box office fraud in the past five years... All these data point to one point: the Korean film industry is already on the brink of collapse. After the collapse of the local market, South Korean filmmakers accelerated their embrace of Netflix and sought opportunities overseas, which was one of the few lifesaving straws and a re interpretation of the decline history of the European and Hong Kong film markets in the past. Taking the history of the film industry as a guide, it is not difficult to understand what it means for a film market to accumulate and cultivate talents that have taken decades to leave in bulk. Around the millennium, Korean filmmakers launched the "bald movement" to fight against Hollywood films, shouting "we can die to protect Korean films." Crisis and hope coexisted, and they upheld their own values. The current trend of collapse has swept through Han Ying, leaving only the lamentation of the current situation and endless confusion about the future in the market. The situation is hopeless. On June 3rd, four days after its release, "Crime City 3" received over 3 million viewers and successfully broke through the profit and loss point, becoming the first Korean film to pass through the profit and loss point in 2023. The film company emphasized on various promotional occasions that it had "suffered a loss for the first time", and also added a sentence on the poster celebrating the breakthrough of millions of viewers: "Thank you for the support of millions of viewers. We will continue to make movies with an open mind and will not forget this support and encouragement On August 11th, "Smuggling" became the second film to break through profit and loss points after "Crime City 3", after ending the six-month decline of Korean cinema. But for the Korean film market, which desperately needs confidence and encouragement, the morale boost brought by just two films is still too limited. "No new films received investment in the second half of 2023" and "There may be no new films available in Korean cinemas in 2024" are all constantly hurting the nerves of the Korean film market. As of August this year, in the box office share of local Korean films, "Crime City 3" and "Smuggling" have received over 50% of the share, which is no longer a phenomenon that can be explained by the head effect. The sustainable development of the film industry highly relies on cinemas, and only the majority of films rely on box office cost recovery to attract investment. However, in 2022, only eight of the over 100 domestic films released in South Korea made profits, while only two films made profits in the first eight months of this year. CJ Entertainment, which has produced classic Korean films such as "Memories of Murder," "Battle of the Ming Liang Sea," "King's Man," and "Parasites," and is one of the largest film investment and distribution companies in South Korea with a branded cinema line CGV, has had a dismal business year, with a total loss of around 80 billion Korean won in the first and second quarters. Lotte, which also owns a cinema brand in South Korea, is currently not optimistic about its expectations for Korean cinema. Senior executives have bluntly stated that Korean cinema is currently facing a huge crisis. The Blair Witch Project rebel without a cause Brian and Charles Alienoid Going in Style What's even more terrifying is that such a lackluster box office still has some moisture. In June of this year, South Korean police raided the offices of CGV, Megabox, and Lotte, the three major cinema operators in South Korea, and revealed a set of data: 323 films in the past five years have had their box office numbers exaggerated, and cinema owners