Korean romantic drama breaks seven-year genre drought, proving melodrama still resonates in theatrical markets

Still of ‘Once We Were Us' (provided by Showbox)

"Romance no longer works in theaters." This became the industry consensus in Korean cinema after the late 2010s. Between the rise of OTT platforms, shifting audience preferences, and the COVID-19 pandemic, the melodrama genre gradually disappeared from theatrical releases. Since Very Ordinary Couple drew 2.92 million admissions in 2019, no Korean romance film had crossed the 2-million mark—until now.

Enter Once We Were Us, starring Koo Kyo-hwan and Moon Ga-young. Released on December 31, the film broke even within 13 days (reaching its 1.1 million admission break-even point), held the box office crown for three consecutive weeks, and has now surpassed 2.5 million admissions domestically. Beyond Korea, Once We Were Us has been sold to nine territories including Taiwan, Singapore, North America, Japan, Indonesia, Vietnam, and Malaysia, with releases rolling out sequentially across these markets.

The film follows Eun-ho (Koo Kyo-hwan) and Jung-won (Moon Ga-young), former lovers who shared an intense romance in the late 2000s, as they unexpectedly reunite after 15 years and confront lingering feelings from their past. Director Kim Do-young adapted the story from Us and Them, the 2018 Chinese box office champion, infusing it with distinctly Korean emotional sensibilities.

Once We Were Us followed an unusual path to success. Despite losing its opening weekend to Avatar: The Way of Water, the film surged to number one in its second week through word-of-mouth momentum. Set in Seoul on the eve of the 2007 global financial crisis, the film's portrayal of two young people leaning on each other amid job insecurity and an uncertain future struck a deep chord with audiences.

International sales moved swiftly around the release. Taiwan opened on January 16, followed by Singapore (January 22) and North America (January 23). Southeast Asian markets including Indonesia, Vietnam, and Malaysia are scheduled to follow.

Industry experts point to Moon Ga-young's international recognition as the key driver behind the film's overseas sales. Her dramas—including True Beauty, My Dearest Nemesis, and Seocho-dong—have been simultaneously released across multiple territories via global OTT platforms, building substantial international fandom. This represents a clear example of how actor recognition in the streaming era functions as a "pre-existing asset" for film exports.

The original film's Asian market awareness also appears to have played a positive role. Us and Them earned critical acclaim not only in China but across Taiwan and Southeast Asia. The positioning as a "Korean remake" that adds Korean actors and emotional tones to a familiar narrative likely appealed to international distributors.

Unlike recent K-content global hits like Squid Game and Hellbound, which centered on thriller genres, Once We Were Us demonstrates that melodrama armed with emotional resonance can still secure commercial viability in international markets. The film also confirms that in the OTT era, actor recognition can serve as a primary engine for film exports.

The global performance of Once We Were Us will serve as a crucial indicator of whether Korean romantic cinema can deliver deep emotional impact to international audiences—and whether the melodrama genre can reclaim its place in theatrical markets.

Sources

•The Fact, "Koo Kyo-hwan & Moon Ga-young's 'Once We Were Us' Heads to North America & Asia" , 2026.02.11

•Max Movie, "2.5 Million Viewers Support 'Once We Were Us'... Now Heading Overseas", 2026.02.11

•Fannstar, "Old Love Reunited on a Plane... 'If We' Receives Love Calls from 9 Countries", 2026.02.11

•Sports Kyunghyang, "Moon Ga-young's 'Once We Were Us' Meets Global Audiences... Sequential Releases in North America & Asia", 2026.02.11

•SBS News, "'Once We Were Us' Crosses 2.5 Million in Korea, Heads Overseas with North America & Asia Rollout",2026.02.11