With cinema admissions still well below pre-pandemic levels, Seoul convenes exhibitors, distributors, and OTT platforms to negotiate a voluntary theatrical window accord

First meeting of the public-private task force (provided by Ministry of Culture, Sports and Tourism)

South Korea's Ministry of Culture, Sports and Tourism (MCST) and the Korean Film Council (KOFIC) have launched a public-private task force to address one of the industry's most contested issues: the theatrical holdback window. The first meeting was held on May 29 at KOFIC's planning and development center in central Seoul, marking the formal start of negotiations. The body aims to finalize a voluntary holdback agreement — formally titled the "Mutual Coexistence Holdback Accord for Korean Cinema" — by August.

Culture Minister Choi Hwi-young opened the session with a call for unity, urging stakeholders to protect "the flame that was painstakingly rekindled" in an industry he described as still recovering from years of crisis.

A theatrical holdback window refers to the period during which a film remains exclusive to cinemas before becoming available on streaming platforms, VOD, or other distribution channels. In Korea, the traditional flow from theater to VOD to television had long been established practice, but the rapid rise of OTT services has compressed or eliminated that window — with some titles appearing on platforms like Netflix and TVING within weeks of their theatrical debut, or even simultaneously.

The debate has split the industry along familiar lines. Theatrical exhibitors and their political allies argue that without a protected window, cinema economics become unsustainable, ultimately threatening the entire production pipeline. Opposing voices — particularly from producers, distributors dependent on fast recoupment, and OTT platforms — contend that mandatory holdbacks restrict audience access and disproportionately harm smaller, non-blockbuster titles.

The task force brings together 22 senior representatives spanning every sector of the Korean film industry. Production is represented by the Korean Film Producers Association, the Korean Film Producers Guild, and the Korean Independent Film Association. The distribution side includes the heads of CJ ENM, Lotte Cultureworks, NEW, and Showbox. Theatrical exhibition is represented by the CEOs of CGV and Megabox, while the streaming and VOD sector includes Netflix Korea's VP of Policy, and the heads of Coupang Play and TVING.

The holdback debate is not unique to Korea. France operates one of the world's most formalized systems: following a landmark 2022 industry agreement, Netflix can access theatrically released films after 15 months, while other major streamers wait 17 months and free-to-air broadcasters up to 22 months. Italy has comparable statutory protections. The United States, by contrast, relies on bilateral negotiations, and the window has shrunk significantly since the pandemic.

Korea's decision to pursue a voluntary accord — rather than legislation — reflects a deliberate choice to let market participants shape the outcome. It is a balancing act: protecting the theatrical ecosystem without curbing the momentum of platforms that have become central to Korean content's global reach.

For international co-production and distribution partners, the outcome of these negotiations carries practical significance. The length and enforceability of any agreed window will directly affect revenue recoupment timelines and platform release strategies for foreign titles distributed in Korea, as well as co-productions structured around simultaneous or near-simultaneous OTT releases. The August target gives the industry a concrete deadline — and the composition of the task force suggests all sides have a stake in reaching one.

Sources

• Yonhap News, "Culture Minister Choi meets film industry leaders", 2026.05.29

• Seoul Shinmun, "Will the theatrical holdback debate be resolved by August?", 2026.05.29

• Yonhap News, "MCST launches public-private task force on holdback", 2026.05.29