If you're asking which Korean film won best film, the short answer is Bong Joon-ho's Parasite. It's the one that shattered the ultimate ceiling, winning the Academy Award for Best Picture in 2020. But stopping there misses the whole story. That question opens a door to a fascinating two-decade journey of Korean cinema on the world stage, a story of gradual recognition that exploded with one film. It's not just about an Oscar; it's about a cultural and artistic ascension validated by the most prestigious podiums in global cinema.

The Historic Oscar Win: Parasite Breaks the Barrier

Let's get straight to the pinnacle. On February 9, 2020, at the 92nd Academy Awards, Parasite did the unthinkable. It wasn't just the first Korean film to win Best Picture; it was the first non-English language film ever to claim the top prize in the Oscars' 92-year history. The significance of this cannot be overstated. For decades, the Best Picture category was seen as a domestic American competition, with foreign films relegated to the "International Feature Film" category (formerly Foreign Language Film). Parasite didn't just compete in that category—it won that too—it competed and won against the biggest Hollywood productions of the year.

I remember watching the ceremony live. The shock in the Dolby Theatre was palpable. When presenter Jane Fonda opened the envelope, there was that brief, universal gasp. It felt like a tectonic plate in the film world had shifted. Bong Joon-ho's now-iconic speech, where he praised the "one-inch-tall barrier of subtitles," wasn't just a cute line; it was a declaration that a global audience was ready for complex stories from anywhere, as long as they were told well.

That one night changed the game for every filmmaker working outside of Hollywood.

What Parasite's Win Actually Meant

Newcomers often think the Oscar was a lucky break. It wasn't. It was a culmination. Here’s what it concretely changed:

• Greenlights for Auteurs: Studios worldwide suddenly saw Korean (and other international) directors as viable for big-budget, mainstream projects. Look at Bong's subsequent deal with Warner Bros. for a sci-fi film, or Park Chan-wook's HBO series The Sympathizer.
• Distribution Deals: Sales agents for Korean films could now command higher prices and secure wider theatrical releases in the West. A film like Decision to Leave (2022) got a much broader release than it would have pre-Parasite.
• Audience Expectations: It trained global audiences to seek out and engage with subtitled films not as "homework" but as premium entertainment. Netflix's investment in Korean content skyrocketed partly because of this proven appetite.

Beyond the Oscar: Major Festival "Best Film" Wins

Focusing solely on the Oscar is a common mistake. It ignores the rich tapestry of recognition Korean cinema earned for years at the so-called "Big Three" European film festivals: Cannes, Berlin, and Venice. These festivals are where cinephiles and critics shape cinematic trends, and Korean films have been dominating there for much longer.

The table shows a pattern: Korean films weren't one-hit wonders. They were consistently prizewinners at the most discerning festivals for over 15 years before Parasite's Oscar. This is a crucial point. The Oscars were late to the party. The cinephile world, centered on Cannes and Venice, had already anointed Korean directors as masters.

Why Korean Films Win: The Ingredients of Global Success

So why Korean films? What's in the water in Seoul? It's not magic. After following this scene for years, I see a clear formula that other film industries often miss.

Genre Hybridity with a Bite. Korean filmmakers are fearless mixologists. Parasite is a family drama, a heist film, a comedy, and a horror movie. Oldboy is a revenge thriller, a mystery, and a Greek tragedy. They don't respect genre boundaries, which makes their films unpredictable and fresh to international audiences tired of Hollywood's formulaic sequels.

Social Critique Wrapped in Entertainment. The best Korean films are deeply political and critical of class, capitalism, and power structures (Parasite, Snowpiercer, The Attorney). But they never feel like lectures. The message is baked into a compelling, often thrilling narrative. You're entertained first, then you find yourself thinking about the inequality in your own society days later.

Technical Perfectionism. Watch any Bong Joon-ho or Park Chan-wook film. The craft—cinematography, production design, editing, sound—is immaculate. It meets and often surpasses the technical standards of big Hollywood studios. This gives them a "premium" feel that transcends language.

A subtle point often overlooked: Korean films often have a fierce, uncompromising emotional logic. Characters make drastic, sometimes violent choices that feel shocking but internally consistent. This intensity resonates globally.

The Infrastructure: It Wasn't an Accident

The talent didn't emerge in a vacuum. South Korea's government, through the Korean Film Council (KOFIC), has actively funded and promoted the industry for decades. Film schools are excellent. There's also a fiercely competitive domestic market—Koreans are avid moviegoers with sophisticated tastes. Directors have to be brilliant to succeed at home first, which sharpens them for the world stage.

Common Questions Answered (FAQ)

Has any Korean film besides Parasite been nominated for Best Picture Oscar?
No, Parasite stands alone as both the first nominee and winner. Its nomination alone was historic. Other Korean films have been nominated in other categories (e.g., Drive My Car—Japanese director but based on a Murakami story, nominated for Best Picture in 2022), but no other purely Korean production has broken into the Best Picture lineup.

What about Bong Joon-ho's other film, Snowpiercer? Did it win anything?
Snowpiercer (2013) is an interesting case. It's a Korean-Czech co-production, mostly in English. It didn't win major "Best Film" awards, but it was a critical and cult hit that greatly expanded Bong's international fanbase. Its battle with Harvey Weinstein over the edit (documented in the press) actually raised Bong's profile as an artist fighting for his vision, which helped his reputation ahead of Parasite.

Are there upcoming Korean films tipped to win major awards?
The spotlight is permanent now. Any new film by Bong Joon-ho, Park Chan-wook, or Lee Chang-dong is instantly on the awards radar. For example, Lee's next project is highly anticipated. Also, look at directors like Ryusuke Hamaguchi (who made Drive My Car)—the success of Parasite has made festivals and awards bodies more eager to spotlight nuanced, dialogue-driven Asian cinema, which benefits Korean filmmakers by association.

How can I watch these award-winning Korean films?
Accessibility is better than ever. Parasite is widely available on major digital rental platforms. The Criterion Collection has released superb editions of films by Bong, Park, and Hong Sang-soo. Streaming services like MUBI and The Criterion Channel regularly feature Korean classics. For newer festival winners, keep an eye on curated streaming services and independent cinema listings in major cities.

So, when you ask "What Korean film won best film?", you're really asking about a moment in time when a long-building wave finally crested. It's the story of Parasite, yes, but also the story of all the brilliant, daring films that built the path to that Oscar stage. The legacy isn't just a golden statue; it's an open door.