Song Joong-ki’s “Bogota: City of the Last Chance” and Song Hye-kyo’s “Dark Nuns”: A Tale of Contrasting Box Office Fortunes

As the Korean film industry wrapped up 2024 and stepped into 2025, two highly anticipated films starring two of Korea’s most beloved actors, Song Joong-ki and Song Hye-kyo, have drawn significant attention—not just for their star power, but for their starkly contrasting performances at the box office. While Song Hye-kyo’s “Dark Nuns” has emerged as a breakout hit, Song Joong-ki’s “Bogota: City of the Last Chance” has struggled to find its footing, highlighting the unpredictable nature of the film industry.

“Bogota: City of the Last Chance”: A Labor of Love Meets Box Office Challenges

Directed by Kim Seong-je and starring Song Joong-ki, “Bogota: City of the Last Chance” was released on December 31, 2024, after a long and tumultuous journey to the big screen. The film’s production began in 2019, with on-location filming in Bogota, Colombia. However, the COVID-19 pandemic caused indefinite delays, pushing the release date back by five years. When the film finally premiered, expectations were high, but the results were disappointing.

Despite Song Joong-ki’s heartfelt efforts to promote the film, Bogota attracted only 420,000 viewers, far below its break-even point of 3 million viewers. The film, which had a production budget of 12.5 billion won, was criticized for its lackluster narrative and failed to resonate with audiences. During a GV (guest visit) event on January 12, Song Joong-ki addressed the film’s underwhelming performance, expressing both gratitude and regret. “I am grateful that the movie is even being shown in theaters,” he said, his voice breaking with emotion. “I worked harder than ever to promote it. I wanted to share it and present it beautifully.”

The film’s struggles have been a sobering reminder of the challenges faced by even the most talented actors and filmmakers in an industry where success is never guaranteed.

“Dark Nuns”: A Controversial Yet Dominant Force at the Box Office

In stark contrast to Bogota’s struggles, Song Hye-kyo’s “Dark Nuns” has taken the box office by storm since its release on January 24, 2025. The film, which explores dark and provocative themes, has generated significant buzz, both for its gripping storyline and its controversial elements. According to the Korean Film Council’s integrated ticketing system, Dark Nuns achieved a remarkable 41.1% ticket reservation rate prior to its release, with 206,853 pre-sold tickets. This far exceeded the 17.9% reservation rate of Hitman 2, the previous box office leader.

The film maintained its position as the No. 1 reserved film for nine consecutive days across major theater chains like CGV, Lotte Cinema, and Megabox. On its opening day, Dark Nuns attracted 160,000 moviegoers and ranked No. 1 on the box office chart for three consecutive days, amassing over 606,156 viewers in its first week. With the Lunar New Year holiday beginning on January 27, the film is expected to sustain its strong momentum and easily surpass its break-even point of 1.6 million viewers.

Controversy and Criticism: A Double-Edged Sword

Despite its box office success, Dark Nuns has not been without controversy. A harsh review of the film gained traction on social media, particularly on the Korean forum theqoo, where a post titled “Dark Nuns’ Review (Spoiler)” garnered over 45,000 views. The review, written by someone who attended an early screening, criticized the film for its use of misogynistic language, including terms like “rotten uterus,” “prostitute,” and “stuff that comes out of a female body.” The reviewer expressed discomfort with these elements, sparking a heated debate online.

During a Q&A session, the director acknowledged the criticism, admitting that the plot was “lacking” and taking responsibility for its shortcomings. This admission further fueled discussions about the film’s content and messaging. While some netizens expressed disappointment and canceled their ticket reservations, others argued that the context of the dialogue needed to be considered before passing judgment. Comments ranged from outrage—“When will Korean cinema come to its senses?”—to cautious optimism—“I think I need to see it for myself to judge it properly.”

A Tale of Two Films: Lessons from the Box Office

The contrasting fortunes of Bogota: City of the Last Chance and Dark Nuns offer valuable insights into the complexities of the film industry. For Song Joong-ki, the underperformance of Bogota is a reminder of the challenges that come with ambitious projects, especially those plagued by external disruptions like the pandemic. Despite the film’s struggles, Song Joong-ki’s dedication and emotional investment in the project have endeared him even more to his fans, who continue to support him through this difficult time.

On the other hand, Song Hye-kyo’s Dark Nuns demonstrates the power of provocative storytelling and effective marketing, even in the face of controversy. The film’s success highlights the audience’s appetite for bold, unconventional narratives, though it also raises important questions about the responsibility of filmmakers to handle sensitive topics with care.

As Dark Nuns continues to dominate the box office and Bogota reflects on its challenges, the Korean film industry remains as dynamic and unpredictable as ever. Both films, despite their differing outcomes, underscore the passion and resilience of the artists and creators who bring these stories to life.

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