Even for South Korea’s uniquely genre-agnostic top auteurs, the career of Min Kyu-dong has been relentlessly diverse and adventurous.
Since his bold debut in 1999 with the high school lesbian horror hit Memento Mori, the 54-year-old director has tried his hand — with consistent success — at rom-coms (All for Love, All About My Wife), queer dramas (Antique, In My End Is My Beginning), period thrillers (The Treacherous), more horror (Horror Stories 2 & 3), legal dramas (Herstory) and even big-budget sci-fi (SF8).
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True to form, Min’s latest feature, The Old Woman With the Knife, is a soulful meditation on the loneliness of aging disguised as a slick genre exercise. Picture John Wick, but with a solitary 60-year-old Korean lady stacking up the kill count with a sharp blade rather than Keanu with a Glock.
The Old Woman With the Knife is based on a best-selling novel of the same name by Korean author Gu Byeong-mo. Veteran screen star Lee Hye-young, one of South Korea’s biggest actresses of the 1980s, plays Hornclaw, a seasoned assassin in her 60s “who specializes in eliminating the scum of the earth.” Hornclaw is grappling with signs of decline and resisting an end to her career, but before she can get there, her routines and long-buried traumas are stirred up by the sudden arrival of Bullfight, a talented young killer who insists on working by her side. Unbeknownst to Hornclaw, though, she and Bullfight have met before — and their unresolved business is building toward an inescapable showdown.
Produced by Seoul-based SooFilm, The Old Woman With the Knife makes its world premiere in the Berlin International Film Festival’s Berlinale Special section on Sunday. The screening marks Min’s second visit to the festival, following the well-received Berlin premiere of his comedy–thriller Antique in 2009. M-Line Distribution is handling worldwide sales on The Old Woman With the Knife. Its local release in South Korea is expected later this year.
Ahead of the The Old Woman With the Knife’s Berlin bow, The Hollywood Reporter connected with Min to discuss the film’s creation and how it resulted in the most difficult shoot of his entire career.
What appealed to you about this particular story of an aging female assassin?
Over the past 30 years, I have explored stories across various genres, but I’ve always been drawn to narratives that delve into the complexities of the human psyche and the conflicts people face at turning points in their lives. Hornclaw, the protagonist of The Old Woman With the Knife, is far from a typical assassin character. She has spent most of her life entrenched in violence, but she is no longer the young, powerful killer she once was. Now, nearing the end of her life, she is weighed down by guilt and sorrow, confronting the consequences of her past.
The question that captivated me was, “What choices can a person make when standing at the threshold of life’s final chapter?” Hornclaw is not merely fighting to survive; she is constantly reflecting on how the wounds and decisions of her past continue to define her present. As an aging woman in a society that tends to overlook the elderly, her sense of isolation and her resilience in overcoming it resonated with me deeply.
What details were most important to you in how you depicted Hornclaw?
For sure, Hornclaw breaks the mold of the conventional action hero. She is an older woman, socially isolated, yet also a highly disciplined killer. Her defining trait is the stark contrast between her inner wounds and her external strength. I focused on bringing her inner world to life — her pain and guilt are not articulated through words but are hidden in her actions and silences. Together with Lee Hye-young, we explored each layer of Hornclaw’s emotions, developing a performance that could simultaneously convey her resilience and vulnerability.
Throughout the film, Hornclaw wrestles with guilt over her past and her instinct to survive in the present. This internal conflict influenced even the action sequences, which were approached as extensions of her emotional state. Her fights are not just physical confrontations but manifestations of the battles within her. Hornclaw has lived in silence for over 40 years. She does not express her pain through dialogue but instead communicates it through subtle shifts in her expression and body language.
The camera work also played a crucial role in capturing Hornclaw’s isolation and tension. Our slow, deliberate camera movements were designed to make the audience feel as though they were secretly observing her life, adding some suspense.
How did you cast Lee as Hornclaw?
At one point, we seriously debated whether we should cast a younger actress and use makeup to age her, just because of the physical demands of the action scenes. The moment I met Lee Hye-young, though, that debate ended. She has this innate cinematic presence that perfectly embodies Hornclaw’s duality — strength and vulnerability. What mattered most for the role was capturing the complex emotions of a proud woman confronting both her retirement and regrets. Lee has this ability to convey all of that without even any dialogue — and it amazes me.
Did you have to make adjustments to how you went about creating Hornclaw’s action scenes, given the character’s age?
For sure. One of the biggest technical hurdles was choreographing action for a character in her 60s. In literature, there are no physical limits to imagination, but in film, we had to confront the real-world limitations of a 60-something actor performing these really demanding scenes. Our stunt and choreography teams worked really hard to ensure the action remained grounded yet powerful.
Hornclaw’s extensive experience as a contract killer — combined with her age — shaped our unique approach to her action scenes. Unlike younger protagonists who rely on speed and strength, Hornclaw’s movements are calculated and efficient. Her combat style is built on strategy and the ability to control situations with minimal effort. We avoided overly theatrical choreography to maintain the realism.
Do you have a favorite scene or sequence in the film?
One of the scenes I’m really attached to is the one where Hornclaw and Bullfight share a meal together. Despite being profound enemies, they temporarily set aside their hostility to have a modest meal. On the surface, it appears peaceful, but you can feel that beneath that calm, these two characters are cautiously probing each other’s pasts, hiding their deeper intentions. It’s as if invisible blades are crossing — tension and hidden motives play out in glances, gestures and quiet conversation, creating a series of subtle reversals. Repressed emotions and concealed threats are conveyed through the smallest of movements. What I love about it is that it’s like an elegant action sequence without any actual violence.
You were previously invited to the Berlin Film Festival for your 2009 comedy-thriller Antique. Do you have any special memories of the festival?
I had several memorable experiences. I remember the cold early mornings in Berlin. One night, with a light drizzle falling, I impulsively went out for a walk. I slowly wandered along the streets leading to Potsdamer Platz, feeling strangely refreshed despite the rain. It was as if the city itself was gently embracing me and I recall feeling so calm. Another unforgettable experience came when I was invited to a local Berlin home for dinner by a member of the audience who had seen my film at the festival. Despite language challenges and differences in culture, their hospitality and conversation left a lasting impression on me. That random kindness helped me appreciate Berlin’s spirit on a deeper level. Returning to Berlin with The Old Woman With the Knife fills me with excitement and nostalgia. Those memories have become treasures to me, so I’m eager to see what new experiences await this time.
