Ryu Seong-hie
Ryu Seong-hie
Ryu in 2024
Born (1968-11-13) November 13, 1968
South Korea
Other namesSeong-hie Ryu Seonghee Ryu
Alma mater
Occupations
Years active2001–present
EmployerPodo Design Studio
AgentIconic Talent Agency
Korean name
Hangul
류성희
RRRyu Seonghui
MRRyu Sŏnghŭi
Birth name
Hangul
유성희
RRYu Seonghui
MRYu Sŏnghŭi
WebsiteOfficial Website

Ryu Seong-hie (Korean: 류성희; Hanja: 柳星熙; Born November 13, 1968) is a South Korean film art director or production designer. She is best known for her collaborations with renowned directors. She has worked with Bong Joon-ho on Memories of Murder, The Host, Mother, with Kim Jee-woon on A Bittersweet Life, and Ryoo Seung-wan's No Blood No Tears, and with Park Chan-wook on Oldboy, I'm a Cyborg, But That's OK, Thirst, The Handmaiden, and Decision to Leave.

Ryu has also worked on several films that achieved record-breaking box office success in South Korea. These include Yoon Je-kyoon's Ode to My Father (2014), which ranked 4th in the list of highest-grossing films, Choi Dong-hoon's Assassination (2015), which ranked 8th, and Yang Woo-suk's The Attorney (2013) which ranked 16th. Each of these films sold over ten million tickets.

In 2016, Ryu became the first Korean artist to win the Vulcain Prize for Technical Artistry at the 69th Cannes Film Festival for her work on The Handmaiden.

Since 2022, Ryu has expanded her work to include production design for mini-series. Her notable works include Little Women, for which she won the Technical Award for art direction at the 59th Baeksang Arts Awards. She has also recently worked on two Netflix original series Mask Girl and When Life Gives You Tangerines (2025).

Early life and education

Born Yoo Seong-hie on November 13, 1968, Yoo developed an interest in music and film during her high school years, although she was initially discouraged from pursuing art. This changed after she watched David Lynch's The Elephant Man, which prompted her to enroll in the Department of Ceramic Art at Hongik University in 1987. She later continued her studies with a master's degree in Industrial Crafts at the Graduate School of Fine Arts in 1991.[1][2]

Although she initially worked as a sculptor and found success in pottery exhibitions, she discovered her true passion for storytelling and moving images.[1][2] This realization prompted her to transition to a career in film as an art director. In 1995, aware that the role of an art director was not yet established in the Korean cinema industry, she decided to pursue film studies in the United States.[3]

While preparing for the TOEFL exam with a friend, she came across a pamphlet for the American Film Institute (AFI), which is noted as David Lynch's alma mater. Despite having missed the application deadline, she submitted a portfolio and was accepted after another student withdrew.[4]

While studying at AFI, she was mentored by Robert Boyle, a renowned art director known for his work on several Hitchcock films, including The Birds, North by Northwest, Marnie, Frenzy, and Shadow of a Doubt. Boyle emphasized the importance of an art director fully understanding and collaborating with the director to bring their vision to life, a process that requires a blend of craftsmanship, artistic sensibility, and design skills. She greatly valued Boyle's guidance, which significantly shaped her career as a art director.[5]

Career

Beginning in the United States

After completing her studies at AFI, Yoo initially planned to stay in the United States, partly due to discouraging rumors about the Korean film industry. She spent approximately 18 months working in the American film industry, contributing to 20 short films and three feature films, and enjoyed collaborating on independent projects with friends.[5][6]

While working on a Western film set, she began questioning the purpose of her work. She pondered whether Western filmmaking aligned with her professional aspirations and the stories she wanted to tell. This led her to watch Asian action films, including Lee Myung-se's Nowhere to Hide,Takeshi Kitano's Sonatine, Ronny Yu's The Bride with White Hair. She was particularly moved by Wong Kar-wai's Ashes of Time, especially a scene where Lin Ching-hsia silently wielded a sword. This scene resonated with Ryu, as it portrayed strong, sword-wielding women, a stark contrast to the often limited and passive roles given to women in western film.[7] Through this film, she also discovered the work William Chang Suk-ping, a production designer who later won Cannes Technical Grand Prize[a] for In the Mood for Love in 2000.[8]

She described this moment as a turning point in her thinking. She reflected that, while she spent long hours making sets look "impressive and cool," she suddenly questioned, "What am I doing here?"[8] She realized that understanding a film's cultural heritage required a deep commitment to infusing that essence into cinema.[6] Despite her doubts about her own talent, she made the decision to return to Korea within two weeks to contribute her experience to domestic film industry.[7]

Returning to South Korea and early works

Upon returning to Seoul, Yoo distributed her business cards as an art director but found the Chungmuro professional landscape unwelcoming. At that time, the role was largely unrecognized and job opportunities were scarce. She faced skepticism due to both the novelty of her profession and the gender bias in the male-dominated film industry, where female staff were often valued for obedience over creativity. This led Seong-hie to briefly regret her career choice, wishing she had pursued cinematography instead. To navigate these challenges and assert more authority, she changed her surname from Yoo to Ryu, adopting a more masculine persona.[4][9]

Ryu's first project as an art director was on Park Kwang-su's short film, www.whitelover.com. Completed shortly after her return, this project was regarded as more of a workshop than a formal production, and she did not see it as representative of her abilities.[1][10]

Her feature film debut came with Song Il-gon's Flower Island (2001), which she considers her professional debut. Ryu was inspired by Song's earlier short films, Liver and Potato (1998) and Picnic (1999), and actively sought him out upon her return to Korea.[11] The original plan was to collaborate on the film Knife, but production circumstances led them to work on FlowerIsland. The production was constrained by limited time and budget, which resulted in minimal communication between Ryu and Song.[5]

Ryu was given the conceptual theme of "A fairy tale and fable for adults," which led her to think of Alice in Wonderland. She recognized parallels between this story and Flower Island, as both explore the coexistence of childhood fantasies and harsh realities. In line with Director Song's poetic and conceptual style, Ryu adopted Alice's perspective during their discussions. The production aimed to capture the essence of the set without extensive physical structures, demanding both conceptual and mental agility from the art direction team. Ryu's work was particularly notable in the bathroom scene, where she used wallpaper to create a worn appearance, contrasting grandeur with the shabby, enclosed surroundings.[1]

Collaborations with Ryoo Seung-wan

Ryu's first foray into commercial filmmaking was with director Ryoo Seung-wan on the action film No Blood No Tears (2002). Ryoo, curious about a production designer who had studied in the United States, reached out to Ryu; they bonded over their mutual appreciation for Quentin Tarantino's films.[11] The film, starring Jeon Do-yeon and Lee Hye-young, was noted for its focus on a female-driven narrative, which was uncommon at the time.[7]

Ryu handled detailed set design, creating rough sketches and 3D visuals for key locations.[12] She approached the project with practicality, aiming to craft tangible spaces that reflected the characters and supported the dynamic action scenes directed by Ryoo.[1][5] The sets were intentionally designed to portray a harsh atmosphere, featuring a suffocating dog fighting ring in Seoul Studio, a lumberyard at Incheon Port with sawdust winds, and an abandoned factory with an unforgiving iron floor. For a crucial setting, Director Ryoo and producer Kim Sung-je's initial choice for a logistics warehouse was deemed unsafe. The team instead found an alternative in an illegal car repair shop. Despite its previous use in other films, Ryu dedicated four days to transforming the space into the desired pulp noir ambiance.[13]

Through her collaboration with Ryoo, Ryu was introduced to directors Bong Joon-ho, Kim Jee-woon, and Park Chan-wook, which marked the beginning of her long-term collaboration with leading figures of the new era of Korean cinema.[4]

Collaborations with Bong Joon-ho

Ryu's collaboration with Bong Joon-ho began with Memories of Murder (2003), a film based on the Hwaseong serial murder case. Her decision to join the production was driven by a goal to address technical inconsistencies she observed in Korean cinema, specifically regarding lighting and tonal coherence. She believed that elevating these artistic elements and focusing on the film's unique local details would help it gain global recognition.[1][14]

Bong tasked Ryu with authentically capturing the atmosphere of the 1980s, providing documentary photos for reference. Her work in art direction was crucial for creating a nostalgic ambience and maintaining coherence across the film. Ryu focused on capturing the essence of the period, reconstructing spaces by using various locations from different parts of the country.[15][16] Although Bong initially wanted to use real police stations, Ryu argued that a constructed set would provide more control over the action and flow. A set was ultimately used, allowing the police station to be designed to create the feeling of depth, specifically an underground interrogation room resembling a deep well.[1] This location served as the setting for one of the film's most memorable scenes, where Song Kang-ho's character and the suspect shared Jajangmyeon.[4][17]

On this set, Bong earned the nickname "Bong-tail," a combination of his name and the word "detail." The nickname reflected a mix of awe and resentment among the crew. Ryu noted that Bong went to great lengths for accuracy, such as insisting on making a middle school girl's bandage less adhesive. While Ryu initially felt resentment toward these demands, she eventually expressed being moved by his commitment, stating it reflected the "heart of a miner searching together" rather than just careless prop placement.[18]

In December 2003, Ryu joined Bong's team for his third feature film, The Host (2006). This epicmonster film features an ensemble cast including Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doona and Go Ah-sung, and follows a man attempting to rescue his daughter from a monstrous creature. The concept originated from Bong's childhood fantasy of a monster climbing Jamsil Bridge,[19] along with inspiration from the 2000 Albert McFarland scandal involving the illegal disposal of formaldehyde into the Han River. Bong collaborated with Ha Joon-won and Baek Chul-hyun on the script.[20][21]

Securing ₩11.8 billion (US$11 million) budget, the monster takes on the role of the main character, which led Ryu to suggest Jang Hee-cheol, her junior, as the creature designer.[22] Ryu and Jang worked closely with the New Zealand animation company Wētā Workshop and the American visual effects studio The Orphanage.[23]

Primarily filmed near the Han River,[24] Ryu described the setting as "more like the Gangbuk of the 1990s" and "shabby environment" enhanced by visual effects."[1] To create a sense of strangeness, familiar spaces were blended with unfamiliar ones, and the position of the Han River bridge was intentionally shuffled. The creature's nest was located beneath the Wonhyo Bridge. As the Han River lacks visually striking features that can be effectively captured on camera, it was portrayed as a vertical space with layers, reflected in the film's 1.85:1 aspect ratio. This vertical space concept is evident in the prologue, where the suicide victim emerges and in the creature's nest, where the victim is trapped.[25][26]

"It wasn't because I wanted to have a lot of filming locations, but it happened because I was looking for an image of the space I wanted. As I searched for locations suitable for outstanding actors like Kim Hye-ja and Won Bin, the number of filming locations naturally increased."

—Director Bong Joon-ho

Following her work with Kim Jee-woon, Yim Pil-sung and several projects with Park Chan-wook, Ryu reunited with Bong Joon-ho for film Mother (2009).This production also marked her first collaboration with CinematographerHong Kyung-pyo. Bong's vision for the film prioritized authentic outdoor spaces over artificial sets.[27][28] His instructions were to find sites that allowed for the creation of a village where a local town blended seamlessly with a rural landscape while maintaining a cohesive emotional atmosphere. To achieve this, eight location-hunting teams spent over 150 days traveling across South Korea. They covered 80,000 km and took 40,000 pictures, visiting regions including Yeosan, Yeosu, Paju, Gyeongju, Jecheon, and Goseong.[29][30]

Bong personally developed the storyboards in his signature comic-like style to ensure precise execution of every scene. Ryu noted that this meticulous planning extended to the physical geometry of the sets; for a staircase scene, she and Bong engaged in detailed discussions over whether the stairs should be set at a 30-degree or 45-degree angle. Furthermore, rather than using a standard prop or a set, Bong insisted on traveling to Gunsan to install a specific, real wall for a scene involving a urinal. These experiences made it evident to Ryu that Bong possesses his own "internal order and language."[30][31]

Partnership with Park Chan-wook

Early collaborations: Oldboy

During the production of Memories of Murder, Ryu was invited by director Park Chan-wook to work on Oldboy (2003) an adaptation of the Japanese manga of the same name. The film follows the story of Oh Dae-su (Choi Min-sik), who is imprisoned for 15 years and seeks revenge against his captor Lee Woo-jin (Yoo Ji-tae). Along the way, he becomes romantically involved with a sushi chef, Mi-do (Kang Hye-jung).[32][33]

This project was a significant departure from her previous work, as she was unfamiliar with Park’s specific genre. However, Ryu believed that collaborating with different directors would yield a uniquely distinctive visual representation.[34][1] Joining the team allowed Ryu to work with cinematographer Chung Chung-hoon and costume director Cho Sang-kyung for the first time.[35]

Geometric patterns are key to the film's visual identity. Ryu designed patterns that transition from the wallpaper in Oh Dae-su's cell to Mi-do's dress and gift box, culminating in Lee Woo-jin's penthouse. Inspired by a script description of the penthouse as a "minimal space with frequently seen patterns," Ryu used the wallpaper to symbolize Oh Dae-su's lack of free will and Lee Woo-jin's meticulous control. As the story unfolds, these patterns become bolder and the colors more vibrant, intended to express raw emotions directly to the audience.[36]

The film's sets were designed to blur the boundaries between reality and fantasy.[35] The script originally called for a clown picture in Oh Dae-su's cell, but Ryu felt it didn't align with her artistic vision. Instead, she proposed using a reproduction of The Man of Sorrows painting, depicting a bloodied Christ with an ambiguous expression that could be interpreted as either a smile or a look of intense pain. To complement the image, she included a quote from Ella Wheeler Wilcox's poem "Solitude": "Laugh and the world laughs with you. Weep and you weep alone." This proposal turned the cell into a representation of the character's inner psychological turmoil.[1][37]

Designing the penthouse for the antagonist Lee Woo-jin, an exceptionally wealthy and powerful character, proved to be the project's greatest challenge. Director Park originally envisioned an indoor-outdoor infinity swimming pool facing a floor-to-ceiling glass window that would make the character appear as if he were floating in the night sky. When budget constraints made this impossible,[35] Ryu proposed incorporating a waterway into the space. Park embraced the idea, even redrawing his storyboards to integrate the element into the film, including a scene where Woo-jin washes his hands in the waterway.[38] This design was praised for its sophisticated appearance and its ability to elevate the film's aesthetic despite the limited resources.[39][40]

Subsequent collaboration with Three... Extremes: Cut, I'm a Cyborg, But That's OK, and Thirst

Ryu's next collaboration with director Park Chan-wook is for the omnibus film Three... Extremes (2005), which features three short films directed by Park Chan-wook, Miike Takashi, and Fruit Chan. Park directed the segment "Cut." The film follows a director (played by Lee Byung-hun) creating a vampire movie and casting Yeom Jung-ah as a vampire. In "Cut," Ryu collaborated with other frequent collaborators of Park, including music director Jo Yeong-wook, cinematographer Chung Chung-hoon, lighting director Park Hyun-won, editors Kim Sang-beom and Kim Jae-beom, as well as costume designer Cho Sang-kyung. Ryu has stated that if A Bittersweet Life and The Host had not been consecutive projects, she would have also worked on Lady Vengeance (2005).[41]

"Like Park's other films, Cyborg is a visual feast. Ryu Seong-hie's art direction is even more explosive than it was in Oldboy. Cyborg has a delightful anime-influenced pop surrealism, with textiles so vibrant they make the eye wander to catch all the little bits of enchantment in the set decoration. The design lifts and extends Park's quirky mood, so that the quirks feel logic within the world he has created, making it feel rounded and full of depth."

— B.L. Panther, Filmmaker of the Month, The Spool[42]

Ryu and Park Chan-wook teamed up again for romantic comedy film I'm a Cyborg, But That's OK (2006). Co-written with Jeong Seo-kyeong, movie follows the love story of Young-goon (Im Soo-jung) a woman who believes she's a cyborg working in a radio factory, and Il-soon (Rain) a male patient with anti-social behavior and kleptomania. The film explores the theme of love in a structured world, primarily set in a mental institution.[42]

Ryu questioned whether mental hospitals are often portrayed with prejudice, which can sometimes come across as didactic or sympathetic, bordering on superiority. She took a different approach by focusing on staying true to the story. The use of white as the base color aimed to maintain fidelity, complemented by pastel shades such as pale pink, green, and blue to create an unsettling yet pure atmosphere, resulting in visually striking aesthetics. The simple set design, reminiscent of an intimate theater production, utilized minimal props. Visual effects were utilized in fantasy sequences. This film is notable for being the first Korean production to use the Viper FilmStream High-Definition Camera, previously used in Miami Vice.[42]

After working with other directors for a few years, Ryu teamed up again with Park Chan-wooknin vampire film Thirst (2009), which loosely based on Émile Zola's novel Thérèse Raquin. She collaborated with Park's long-time associates, including music director Jo Yeong-wook, cinematographer Chun Chung-hoon, costume designer Cho Sang-kyung, lighting director Park Hyun-won, editors Kim Sang-beom and Kim Jae-beom. This film is notable as a continuation of Park's exploration of the vampire genre, following his short film "Cut," which appeared in the omnibus film Three... Extremes in 2004. Thirst also marks the reunion of director Park Chan-wook and actor Song Kang-ho, who last collaborated on Sympathy for Mr. Vengeance (2002), a seven-year gap between their projects.[41]

The film explores the theme of germs, symbolically represented throughout its narrative. The character Tae-ju, portrayed by Kim Ok-bin, refers to Sang-hyeon, played by Song Kang-ho, as a germ, highlighting their intertwined and destructive relationship. Furthermore, the significance of sphagnum moss is emphasized in the context of the drowning of Tae-ju's husband, Kang-woo (Shin Ha-kyun). The meticulously designed sphagnum moss in the lake serves as a visually striking representation, underscoring germs as a central motif within the film.[7][43][44]

In Thirst, Ryu also merged traditional Korean elements with oppressive Western religious aesthetics. She designed "The Happy Bok House," where Mrs. Ra (Kim Hae-sook) resides, as a hanbok house featuring grand and expansive Baroque spaces within a Japanese-style structure, complete with vodka, trot music, and a mahjong game area. Director Park developed a particular fondness for the wallpaper that adorns the house.[7]

International acclaim: The Handmaiden

As production designer, Ryu considered The Handmaiden (2016) the pinnacle of her long-standing collaboration with Park Chan-wook and the team. The design focused on enhancing cinematic photography rather than merely aesthetics, showcasing a deep rapport shared between Ryu, Park, and the entire crew, including writer Jeong Seo-kyeong, cinematographer Chung Chung-hoon, costume director Jo Sang-kyung, make-up director Song Jong-hee, music director Jo Yeong-wook, and editing director Kim Sang-bum. Ryu expressed that this project brought a "tremendous increase in happiness."[7][45]

"Often, people refer to filmmaking as the director's art. Or they may mention the screenwriter or the actors, as if they are the artists who dominate or possess this genre. However, we, as filmmakers, must be able to perceive more than what is immediately before us. It is through the collaboration of film technicians that a work comes to life, and the director's creativity can be realized in reality. It should not be forgotten that this art is a culmination of individual skills combined intensively. I am delighted to present this award to Director Ryu Seong-hie, who has brought us such an astonishing film today. Ryu Seong-hie's achievement demonstrates that a film of such artistic excellence is accomplished through the presence of a production designer."

—Director Claude Lelouch

For her work on The Handmaiden, Ryu became the first Korean artist to win the Vulcain Prize for Technical Artistry at the 69th Cannes Film Festival.[46] The Vulcan Award ceremony was held on December 2, 2016, at Pathé Les Fauvettes in Paris. The event was rescheduled from November to December to accommodate Ryu's schedule, and Claude Lelouch presented the award to her in recognition of her achievement.[47]

The film is loosely based on the novel Fingersmith by Sarah Waters but is set in Korea during the 1930s Japanese colonial period. The narrative unfolds in three parts, with the first narrated by Nam Sook-hee (Kim Tae-ri), a pickpocket hired by a Korean swindler posing as a Japanese count, Fujiwara (Ha Jung-woo), to deceive an heiress, Hideko (Kim Min-hee). Subsequent segments reveal Hideko's perspective and her traumatic upbringing, leading to twists and a gripping conclusion in the last segment.[48][49]

Ryu encountered numerous challenges while developing the visual world of The Handmaiden. To ensure the film stood out from other productions set in the same era, she aimed for a unique presentation that moved beyond existing references. Extensive historical research was a crucial component of her process, as she sought to comprehend the pro-Japanese atmosphere of the 1930s, which she found both unsettling and visually intriguing. The resulting Kouzuki mansion was conceptualized to symbolize the era's complex identity, intentionally blending European, Japanese, and Korean architectural styles. Achieving such a complex design within a limited production timeframe necessitated an intensive, accelerated study of architecture.[50][51]

Ryu's primary objective was to create a visual contrast between the oppressive world of the uncle, Kouzuki, and the refined, secluded world of the heiress, Hideko. One of the film's most critical spaces was Kouzuki's study, a room designed to reflect "perverse desires" within a grotesque and unfamiliar, yet dignified, atmosphere. To instill a sense of discomfort, Ryu proposed the inclusion of a traditional Japanese garden within the interior space of the study. The intentional lack of color in the space was a strategic choice to allow the vibrant costumes and makeup of the characters to remain the primary visual focus. Ryu also incorporated Shunga, a form of Japanese erotic art, to highlight the characters' hidden desires, ensuring that its integration was executed as a seamless element of the film's overarching design.[4][50]

We also studied the art of Shunga diligently. There are all kinds of Shunga out there. At first, there were many explicit depictions of intimate moments between men and women in the paintings, so the art team couldn't even look at each other. Later on, we would playfully say, "Hey, this pose is something!"

— Ryu Seong-hui, 2016 Biz Entertainment Interview[4]

Hideko's personal personal spaces were designed to embody beauty and elegance. Due to a lack of historical references for the specific blend of styles needed, Ryu drew inspiration from Western period dramas. She referenced the mise-en-sceˋne of adaptations of Jane Austen's novels, such as Prideand Prejudice, as well as stylistically bold films like Orlando, Atonement, and the disturbing aesthetics of Salò, or the 120 Days of Sodom. Her goal was to maintain a visual sense of dignity and elegance on screen, even amidst disturbing events.[4][50][52]

Hideko's parlor is a place where she discreetly watches Sook-hee through a small hole in the sliding door. In designing this parlor, Ryu aimed to emphasize femininity and create a safe haven for Hideko, away from Kouzuki's control. She selected William Morris-style wallpaper to decorate the room, symbolizing the complex aspects of sexual duality. Upon closer inspection, the wallpaper reveals grotesque forms resembling female genitalia.[7][38][50]

Hideko's bedroom was intentionally designed to appear larger than its actual size through the use of anamorphic lens, presenting a design challenge of filling the expanded space without creating clutter. Ryu strategically placed a curtain at the head of the bed and selected specific props to foster a sense of privacy and intimacy. To facilitate key scenes between Hideko and Sook-hee, she arranged cushions and a small sofa at the foot of the bed, allowing the characters to move freely within the space. Cool-colored sheets were chosen to enhance the visual appeal and create a serene contrast to the mansion's darker themes.[50]

Further collaboration with Decision to Leave and Life Is But a Dream

After collaborating with various directors for a period of time, Ryu reunited with Director Park Chan-wook in Decision to Leave (2022). The story revolves around married detective Jang Hae-jun (Park Hae-il), who becomes involved in a case where a man's death leads him to the man's widow, Chinese immigrant Song Seo-rae (portrayed by Tang Wei). As Hae-jun investigates Seo-rae as a potential suspect, he finds himself forming a deep emotional connection with her. The film explores Park's idea of a woman who is implicated in her husband's death, set against a picturesque mountainous backdrop.[53][54]

When creating Seo-rae's room in Decision to Leave, Ryu reflected on Seo-rae's loneliness as an immigrant. The sea and mountains depicted on the wallpaper were intended to convey this mood of isolation. Ryu noted, "Actors tell stories through dialogue, but visual storytelling can capture things that are not directly said. When I was working on the art for Decision to Leave, I wanted to create an atmosphere that said, 'These people are actually saying that they love each other.'"[55]

Ryu received Best Art Direction nominations at the Baeksang Arts Awards, Blue Dragon Film Awards, Buil Film Awards, and Grand Bell Awards for Decision to Leave, winning at the 16th Asian Film Awards. The film was featured in the special exhibition Design of the Scene: The World of Film Designed by the Art Director at the Korean Film Museum (July 28–November 18, 2022), where Ryu participated in a talk alongside production designers Han Ah-reum and Cho Hwa-seong.[56]

Following Decision to Leave, Ryu reunited with director Park Chan-wook for the 21-minute short Life Is But a Dream, shot entirely on an iPhone 13 Pro and released on Apple's YouTube channel.[57] The story follows an undertaker (Yoo Hae-jin) who, while attempting to steal a coffin, awakens a ghost (Park Jeong-min). The ghost then forms a bond with the spirit of a warrior (Kim Ok-vin) whom the undertaker had been trying to bury. The film blends supernatural romance, musical, and martial-arts elements.[58]

The art direction of the film was deliberately designed to reflect changes of location and mood through a shifting color palette that matched the tone of each scene. The film opens in a dimly lit cemetery, moves into a martial-arts sequence, and culminates in a dreamlike paradise representing the afterlife. Ryu said she began with a restrained blue palette that emphasized silhouettes and lines, then gradually introduced richer, more expressive colors akin to abstract painting. Details such as the woven wooden screen in the undertaker’s house and the silhouetted swordsman sequence underscore this approach. In the procession scene, colorful clothing and flags illustrate the vibrant nature of the gokdu, marking the arrival of more vivid colors.[57]

Ryu saw director Park Chan-wook as a person who "always wants to create a new world with new stories."[57]

Collaborations with Kim Jee-woon and Yim Pil-sung

A Bittersweet life

Impressed by Ryu's creation in Memories of Murder and Oldboy, Kim Jee-woon invited her to collaborate on the action-noir film A Bittersweet Life (2005). The film follows hitman Sun-woo (Lee Byung-hun) who becomes a target after sparing his boss's cheating lover, Hee-su (Shin Min-a). Ryu trusted director Kim completely during production, ensuring her work aligned with his vision and central themes.[1] She collaborated closely with cinematographer Kim Ji-yong and lighting director Shin Seong-yeol on the project.[59]

"What surprised me was the underground interrogation room in Memories of Murder and the detention room in Old Boy. I was strongly impressed by the noir-like space. It felt like there was a smell coming from the image. They were not simply reproductions, but realistic cinematic spaces with atmosphere."

Kim instructed Ryu to develop a concept defining the film's spatial language rather than simple set decoration. The primary challenge involved achieving a three-dimensional, high-contrast noir aesthetic. Recognizing that lighting alone couldn't achieve the pulp noir tone, Ryu incorporated light-reflective surfaces and specific textures into the sets, making physical space essential for capturing required light and shadow.[61]

Ryu's standout design was the Sky Lounge, a pivotal setting in the narrative. Responding to Kim's request to evoke a "fateful encounter" similar to Western films, Ryu drew inspiration from fashion show stage photography. She implemented a bold red tone throughout the space, a choice Kim accepted. The lounge functioned as both the starting and ending point for the protagonist Sun-woo, as well as the site of the film's violent climax. Unlike the harsh, masculine environments of lounges and interrogation rooms, the home of the female protagonist, Hee-su, served as a "cinematic oasis." This space was unique in the film for its harmonious coexistence of darkness and light, featuring abundant illumination. The design included feminine elements that contrasted with the oppressive atmosphere of the hitman's world.[61]

Hansel and Gretel

Following the completion of I'm a Cyborg, But That's OK (2006), Ryu collaborated with director Yim Pil-sung on the dark fantasy horror filmHansel and Gretel (2007). Loosely inspired by the Grimm Brothers' fairy tale of the same name, the film centers on a group of mysterious children living in a house in the woods and the adults who become trapped in their world. Ryu was tasked with constructing a fantasy space that reflected a child's imagination while maintaining an underlying sense of dread.[62][63]

The overarching art concept for the film was "winter fantasy horror." To achieve this, Ryu designed an elegant, candy-colored house interior inspired by the theme of a pastry shop. A significant element of the design was the custom wallpaper, which Ryu personally designed and produced for every room in the house. The primary motif featured rabbits, rendered in a drawing style inspired by the dark, whimsical illustrations of American children's book author Maurice Sendak. This choice contributed to the film’s uncanny atmosphere, blending childhood innocence with the grotesque and unsettling nature of the narrative.[64]

Ryu approached this project with restraint. In a scene where children receive books for Christmas and Santa brings their drawings to life, she had the kids create the drawings, which she then visualized. Using primary colors like pink and red, she captured the essence of their art, filtering the images to feel "reassuring," akin to those in "Harry Potter." She noted that even in a horror film, it's important not to startle the audience during the Christmas season.[65]

Expansion to melodrama and historical epics

Late Autumn

After taking nearly a year-long break, Ryu took on the role of art director for Kim Tae-yong's film Late Autumn.[4] The film features Tang Wei as Anna, a prisoner granted a 72-hour parole to visit her family in Seattle. During her visit, she befriends a South Korean fugitive portrayed by Hyun Bin. Late Autumn is a co-production involving South Korea, China, and the United States, and it serves as the fourth adaptation of the 1966 Lee Man-hee melodrama classic of the same title, which is a lost media.[66][67][68]

Ryu decided to work on Late Autumn after stepping back from films she felt were overly artistic. She found the experience of working on the film to be positive. Shot in Seattle, she also took on the role of location manager. With many scenes filmed outdoors, the project presented a different approach to production design that she enjoyed. Her work on Late Autumn is considered a significant milestone in her career.[4]

The Front Line

Ryu and Cinematographer Kim Woo-hyung, who previously collaborated on the melodrama Late Autumn, teamed up again for Jang Hoon's war filmThe Front Line (2011). This marked Ryu's first collaboration with Director Jang. The film, also known as "Battle of Highlands," is set during the 1953 ceasefire of the Korean War and delves into lesser-known aspects of the conflict. It focuses on Aerok Hill, a small rise on the Eastern Front that saw 30 exchanges of control over 18 months of intense fighting.[69]

Ryu initially had reservations about taking on horror or war films, fearing that the production would be filled with disturbing thoughts. However, she was moved to tears upon seeing real aerial photographs depicting the aftermath of war on Aerok Hill, which convinced her to accept the offer.[7]

"The terrain shown in the file photo did not exhibit a clear traffic pattern like those in foreign war movies. After enduring numerous battles on one hill, it appeared as though the ground had been beaten and tangled countless times. Compared to urban battles, this image strongly suggests the essence of war. While conceptualizing, I envisioned the terrain as akin to a grandmother's palm, alongside the hellish scenes that unfolded there."[70]

The Front Line strives to harmonize two contrasting perspectives: depicting the harsh reality of artillery shell destruction and exploring themes of post-war reflection.[69] For the Aerok Hill Battle scene, Ryu and the team initially planned to film in Jeonju but ultimately chose the foot of Baegam Mountain in Hamyang, South Gyeongsang Province. A forest fire in April 2009 unintentionally altered the landscape to resemble the war-torn highlands. The damaged trees rendered the land barren and desolate, mirroring the highlands during the Korean War, which experienced heavy grenade and artillery attacks.[70] Ryu aimed to evoke a sense of sublimity and tragedy by drawing inspiration from the mountain's contours. The art team faced challenges distinct from traditional set building, opting to sculpt the land itself and work with difficult terrain while acknowledging its inherent beauty. Despite the harsh conditions, they reshaped the soil to create the desired landscapes.[7]

The Attorney

In 2013, Ryu served as the production designer for The Attorney, the directorial debut of Yang Woo-suk. The film was inspired by the real-life "Burim case" (1981) during the authoritarian Chun Doo-hwan regime, following the transformation of a tax lawyer (played by Song Kang-ho) through a series of intense trials. Ryu led a production team that included Kwon Kwon-jin and costume designer Lim Seung-hee, working in close coordination with cinematographer Lee Tae-yoon and lighting director Oh Seung-cheol to capture the film's grounded, historical atmosphere.[71]

The production design team conducted thorough research to accurately portray the lives of ordinary people in 1980s Busan. Every detail, from large-scale set pieces to minor props, was selected to evoke nostalgia and maintain historical authenticity. One notable example of this attention to detail was the inclusion of a pineapple fruit basket brought as a gift by the protagonist; the homeowner’s immediate delight reflects the fruit’s status as an expensive luxury item during that era. The art direction also emphasized the fashion trends of the early 1980s, including tailored suits with wide collars, bell-bottom pants, and distinct hairstyles, to bring an authentic appearance to the characters.[72]

To recreate 1980s Busan, the production was filmed across multiple cities, including Busan, Gunsan, Daejeon, Jeonju, and Incheon. Ryu's team paid close attention to detail by placing period-accurate signage, campaign posters, and calendars throughout the scenes. They made sure to prominently feature Chinese characters on billboards, as they were commonly used during that era. Additionally, they rented vintage vehicles from the era.[72] This dedication to historical accuracy greatly enhanced the film's immersive quality. TheAttorney a huge commercial success, selling over 11 million tickets and ranking as one of the 15th-best-selling Korean film of all time. It was also the second highest-grossing Korean film of 2013.[73][74][75]

Ode to My Father

The production of the film Ode to My Father (2014) marked Ryu's first collaboration with director Yoon Je-kyoon. Due to the high-profile nature of the project, Ryu noted experiencing immense pressure; Director Yoon had a successful track record with over 10 million viewers for his previous films, and the project carried high production costs. The movie spans multiple eras, including the 1950s Korean War, the 1980s, and the present day. Creating such a sweeping historical film required extensive preparation, yet the team was limited by a tight schedule of only three and a half months.[76]

The team faced a major challenge in recreating the Gukje Market, an old marketplace in Busan, also known as an international market. A past fire incident had destroyed most of the market's documentation, leaving limited data for reference. Ryu conducted research for nearly a month, finding that while data existed for the German coal mines and the Heungnam withdrawal, the only available documentation of the Gukje Market was a single photo. Relying solely on imagination was not an option for such a culturally significant location. Fortunately, during the final preparation stages, Ryu obtained a valuable collection of old photos personally owned and preserved by a Busan resident. These photos provided crucial visual references and served as vital historical resources, an encounter Ryu described as one of the "unexpected and magical elements" of the filmmaking journey. The production design team used these photos to accurately depict the architectural and commercial transformation of the market from the 1950s to the present. The sets meticulously showcased the evolution of goods, moving from 1950s military uniforms and sausages to later imported canned goods.[77]

Director Yoon expressed his satisfaction with the work, praising the technical team, including Ryu, cinematographer Choi Young-hwan, and costume designer Lim Seung-hee, as comparable to "Real Madrid-level talent." For her efforts, Ryu was awarded Best Art Direction at the 36th Blue Dragon Film Awards.[77]

The King's Letter

In 2019, Ryu collaborated with rookie director Jo Chul-hyun on the historical drama The King's Letters. Set during the early Joseon Dynasty, the film explores the collaborative effort between Sejong the Great (Song Kang-ho) and the monk Shinmi (Park Hae-il) to create the Korean alphabet, Hangul.[78][79][80]

"This is a film that must be seen on the big screen. The meticulous artistry by Production Designer Ryu Seong-hie, the deep-color costumes, and the stunning locations create an atmosphere that is hard to believe, especially considering it is the work of a rookie director."

—Director Bong Joon-ho, Interview in BIFF[80]

To portray King Sejong's refined aesthetic sensibility, Ryu drew from historical records suggesting that the King and his sons, Grand Prince Inpyeong and Grand Prince Suyang, lived with a high level of cultural sophistication. The production team commissioned skilled craftsmen to create period-accurate ceramics for the Gangnyeongjeon Hall and entrusted the painting of the Ilwolobongdo (the "Sun, Moon, and Five Peaks" screen) to modern Oriental painter Jeong Jae-eun. Furthermore, the furniture in the royal quarters was designed using specific geometric characteristics to reflect the order and dignity of the era.[81][82]

The film's visual language was built on the contrast between the royal court and the monastic world. Ryu worked closely with cinematographer Kim Tae-kyung to portray the King's spaces with a simple, dignified, and elegant atmosphere to symbolize the rigid principles of Confucianism. In contrast, Monk Shinmi's environment was presented as open, unadorned, and rustic. While Sejong's spaces was largely built on sets, Shinmi's spaces was primarily filmed on location to capture raw, natural textures, visually representing the ideological differences between Buddhism and the state.[81]

Working with Choi Dong-hoon

Assassination

The 2015 period action film Assassination marked the first collaboration between Ryu and director Choi Dong-hoon. Set in 1933 during the Japanese occupation of Korea, the narrative follows a group of resistance fighters plotting to assassinate a high-ranking Japanese officer and a pro-Japanese collaborator. Recreating this era presented a significant challenge, as Ryu noted that historical film and television references for the 1930s were relatively scarce compared to contemporary settings.[83]

Ryu's design team focused on the striking visual contrast between the blended Eastern and Western styles of Gyeongseong and Shanghai. The production utilized the Shanghai Chedun Film Park to capture the vibrant scenery of Shanghai, including the 1930s Nanjing Road. A key setting in the movie is the Mitsukoshi Department Store (now the site of Shinsegae in Myeong-dong), which symbolizes 1930s Gyeongseong. The team paid special attention to recreating the opulent atmosphere. Additionally, to evoke the ambiance of the 1930s, the team included a promotional sign for the 1933 film King Kong when depicting the movie theater.[83][84]

At that time, Gyeongseong was so wealthy and luxurious that I was surprised when I looked at the historical data, The upper class lived extremely extravagant lives, and at the pinnacle of this opulence was the Mitsukoshi Department Store, which reflected the imperialist cultural policies. It was already magnificent in reality, but the director wanted the space to appear even more splendid. We established the principle of starting truthfully with thorough historical research, but finishing the space in a way that satisfies the audience's fantasy and fits the spectacle of the movie. When you step inside the department store, the space is so overwhelmingly luxurious that you don't even dare to fight back.

— Art director Ryu Seong-hie, Cine21 Interview[83]

The production design for Assassination achieved such a high degree of realism that lead actress Jeon Ji-hyun remarked she felt fully immersed in the era, momentarily forgetting she was on a film set. Despite initial production concerns regarding the audience's reaction to the complex blending of Japanese and Western architectural styles, the film was exceptionally well-received.[85] It became a massive box office hit, attracting over 12.7 million viewers and ranking as the 7th highest-grossing Korean film of all time at the time of its release. The film's artistic techniques were hailed as a significant milestone in South Korean filmmaking.[86]

The project's artistry was further recognized by the Korea Film Museum, operated by the Korea Film Archive, which curated a special exhibition titled "Movie Magic Production Design: Assassination in 1930s Gyeongseong." This exhibition allowed the public to engage directly with Ryu's creative process, featuring her original sketches, architectural models, and authentic props. Visitors were able to explore the environments she designed, specifically the Mitsukoshi Department Store and the Anemone Cafe, which served as the heart of the film's visual narrative.[87]

Alienoid part 1 and part 2

After a few years, Ryu reunited with director Choi Dong-hoon for the fantasy period films Alienoid (2022) and Alienoid: Return to the Future (2024).[45] These films featured a wide range of settings, spanning the Goryeo period, the modern era, and even outer space, which required the involvement of two art directors: Ryu and Lee Ha-jun. Director Choi noted that both were of world-class caliber, although he had not originally planned to pair them. Having previously collaborated solely with Ryu on Assassination, Choi discussed the project with her and decided to bring her on board from the pre-production phase. As the workloads of the film increased, they sought assistance from Lee Ha-jun, leading to a division of labor in which Ryu focused on the period settings while Lee Ha-jun took charge of the modern era.[88]

Foray into to television and streaming series

Ryu built a strong professional relationship with screenwriter Jeong Seo-kyeong through their numerous collaborations on the films of Park Chan-wook. This rapport led Jeong to approach Ryu for a television project based on Louisa May Alcott's novel Little Women, believing Ryu could provide the necessary "believability" to a world that blended fantasy with reality. During the filming of Decision to Leave, the two finalized their plans to collaborate.[89] A significant milestone of the production was the assembly of a creative team that was 70% women; this marked a shift in the industry, as women held every key leadership position including chief producer, writer, director, and art director.[90]

The architectural spaces in the miniseries Little Woman (2022), such as the Ivory House, the Blue Orchid greenhouse, and the various character residences, were designed with magical elements reminiscent of fairy tales. Ryu focused on balancing reality and fantasy to ensure viewers could accept these stylized spaces. For the Orchid Tree, the design of the blue orchids subtly incorporated human facial features, intended to appear as a beautiful flower from a distance while revealing a theme of underlying darkness upon closer inspection. Individual character homes reflected their specific personalities; Sang-ah's house was designed to resemble an intricately decorated theater set, while Hye-seok's residence utilized mother-of-pearl cabinets to portray a "modern hipster" aesthetic within a wealthy, old-fashioned context. The use of matching wallpaper and blue carpets across different character houses established a visual thread that enhanced the narrative.[7]

The miniseries Little Woman was widely praised for its meticulous scenography, characterized by lavish set designs and meticulous props.[91] At the 59th Baeksang Arts Awards, the drama received four nominations, including a Technical Award nomination for Ryu, which she ultimately won. Writer Jeong was also nominated for Best Screenplay, while the drama itself received nominations for Best Director and Best Drama.[92][93][94]

Ryu also participated in the Netflix's original series Mask Girl (2023), where she designed environments that acted as psychological extensions of the characters. She created a stark contrast between Kim Mo-mi’s sterile, repetitive office and her surreal, vibrant bedroom used for live broadcasts. Ryu was focused on the motel where Kim Mo-mi first encounters the reality of a murderer's actions. Described as a faux romantic love motel, it featured wallpaper depicting palm trees with a fantasy-like yet unattainable quality, transitioning from sunset to nighttime, evoking a sense of beauty and sadness. This space represented a significant turning point in Kim Mo-mi's life. For the character Joo-nam, Ryu designed a "cave-like" attic with slanted ceilings to represent a world centered on a computer monitor. The prison set was also treated with a fantasy aesthetic, utilizing a unique color palette of purple, lilac, and green.[95]

In November 2023, Ryu mentioned that she was preparing a new drama with director Kim Won-seok of My Mister and writer Lim Sang-choon of When the Camellia Blooms, focusing on a story of three generations of women. Initially has working title "Life,"[7] its Korean title, Pokssak sogatsuda (Korean: 폭싹 속았수다), was revealed on January 27, 2023, meaning "thank you for your hard work" in the Jeju language.[96] The English title, When Life Gives You Tangerines, was announced on January 30, 2023,[97] and is a word play on the proverb "When life gives you lemons, make lemonade";[98] referencing Jeju Island's mandarin orange.[98]

When Life Gives You Tangerines is a period drama that begins in 1960 and spans 65 years of modern Korean history, depicting the joys and sorrows of a family. For the drama's art direction, Ryu collaborated with main art director Choi Ji-hye.[99] Their approach prioritized expressing the passage of time and the characters' emotions and memories through its visual spaces, favoring emotional resonance over strict historical reproduction while still maintaining historical accuracy. The design also aimed to appear sophisticated from a contemporary perspective, helping younger audiences empathize with the period setting.[100][101][102]

Filmography

Films

Year Title Director Ref.
English Korean
2001 Flower Island꽃섬 Song Il-gon[103]
2002 No Blood No Tears피도 눈물도 없이 Ryoo Seung-wan[104]
2003 Memories of Murder살인의 추억 Bong Joon-ho[105]
Oldboy올드보이 Park Chan-wook[106]
2005 A Bittersweet Life달콤한 인생 Kim Jee-woon[107]
2006 I'm a Cyborg, But That's OK싸이보그지만 괜찮아 Park Chan-wook[108]
The Host괴물 Bong Joon-ho[109]
2007 Hansel and Gretel헨젤과 그레텔 Yim Pil-sung[110]
2009 Thirst박쥐 Park Chan-wook[111]
Mother마더 Bong Joon-ho[112]
2011 Late Autumn만추 Kim Tae-yong[113]
The Front Line고지전Jang Hoon[114]
2013 The Attorney변호인Yang Woo-suk[115]
2014 Ode to My Father국제시장 Yoon Je-kyoon[116]
2015 Assassination암살 Choi Dong-hoon[117]
2016 The Handmaiden아가씨 Park Chan-wook[118]
2019 The King's Letters나랏말싸미Cho Chul-hyun [119]
2022 Decision to Leave헤어질 결심 Park Chan-wook[120]
Alienoid외계+인 1부 Choi Dong-hoon[121]
2024 Alienoid: Return to the Future외계+인 2부 [122]
2025 No Other Choice어쩔수가없다 Park Chan-wook[123]

Short films

Short films credit
Year Title Director Credited as Ref.
English Korean Assistant art director Production Designer
1999 www.whitelover.com빤스 벗고 덤벼라
Park Kwang-su
colaboration[b]N/a[124]
2004 Three... Extremes: Cut쓰리, 몬스터 : 컷
Park Chan-wook
N/aYes [125]
2022 Life Is But a Dream일장춘몽 [126]

Television series

Year Title Director Production Designer Ref.
English Korean
2022 Little Women작은 아씨들 Kim Hee-wonYes [127]
2023 Mask Girl마스크걸 Kim Young-hoon [95]
2024 When Life Gives You Tangerines폭싹 속았수다 Kim Won-seokCo-designer[c][90]

Accolades

In June 2018, the Academy of Motion Picture Arts and Sciences (AMPAS) extended invitations to its new members, including 14 individuals from the Korean film industry. Ryu was among those invited.[128][129]

Camellia Award.[130]

Awards and nominations

Awards and nominations received by Ryu
Award Year Category Recipient Result Ref.
Asian Film Awards2012Best Production Designer The Front LineNominated  [131]
2017The HandmaidenWon [132][133]
2023Decision to LeaveWon [134][135]
Apolo Awards2016 Best Production Design The HandmaidenWon [136][137]
Baeksang Arts Awards2023Technical Award Television Little WomenWon
Technical Award Film Decision to LeaveNominated [138][139]
Blue Dragon Film Awards2005Best Art DirectionA Bittersweet LifeNominated [140][141]
2007I'm a Cyborg, But That's OKNominated [142]
2009ThirstNominated [143]
2011The Front LineWon [144][145][146]
2015Ode to My FatherWon [147][148]
AssassinationNominated [149]
2016The HandmaidenWon [150]
2022Decision to LeaveNominated [151][152]
2025No Other ChoiceNominated [153]
Buil Film Awards2011 Best Art Direction The Front LineWon [154][155]
2015AssassinationWon [156]
2016The HandmaidenWon [157]
2022Art and Technology Decision to LeaveNominated [158][159]
Busan International Film Festival2024Camellia Award Ryu Seong-hieHonored [160]
Cannes Film Festival2016Vulcan AwardThe HandmaidenWon [161]
Cine21 Film Awards2022 Series Staff of the Year Little WomenWon[d][162]
Chunsa Film Art Awards2016 Technical Award AssassinationNominated [163]
2017 The HandmaidenNominated [163]
Grand Bell Awards2004Best Art Direction OldboyNominated
2005A Bittersweet LifeNominated [164]
2011Late Autumn[e]Nominated [165][166]
2014The AttorneyNominated [167][168]
2015Ode to My FatherNominated [169][170]
AssassinationNominated
The King's LettersNominated [171]
2022Decision to LeaveNominated [172]
Alienoid[f]Won [173][174]
Korean Association of Film Critics Awards2015 Technical Award AssassinationWon [175]
Korean Film Awards2003 Best Art Direction Memories of MurderNominated [176]
2004 OldboyNominated
2005 A Bittersweet LifeNominated [176]
2006 The HostNominated [176]
Los Angeles Film Critics Association2016 Best Production DesignThe HandmaidenWon [177]
San Diego Film Critics Society2016 Best Foreign Language FilmNominated [178][179]
San Francisco Film Critics Circle2016 Best Production DesignWon [180][181]
Seattle Film Critics Society2017 Best Production DesignWon [182][183]
Woman in Film Korea Festival 2003 Best Art Direction Memories of MurderNominated [163]
Yumin Awards2023 Culture and Arts Award Ryu Seong-hieWon [184]

Notes

  1. ^Award shared with Christopher Doyle and Ping Bin Lee
  2. ^Kim Hui-jeong is the main art director
  3. ^Working with Art Director Choi Ji-hye[45]
  4. ^Tied with Art Director Lee Nae-kyung
  5. ^Award shared with Trae King
  6. ^Award shared with Lee Ha-jun

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