This second full-length album from South Korean 10-piece Golden Child moves seamlessly from pop balladry to anthemic EDM without ever losing its footing.

This second full-length album from South Korean quintet TXT scrambles musical genres in rich and fascinating ways. From the fizzing hi-hats and dreamy chords of opener “Anti-Romantic” to the harmonic stasis and minimalist groove of “Frost” which brings the eight-track collection to an impressive close, textures, timbres and tempos are impressively varied throughout.

Since launching his directing career in 2011 with The Showdown, Park Hoon-jung has established himself as a promising devotee of the bloody gangster genre. The pandemic may have slowed the South Korean director’s momentum, as the producers were forced to release the film belatedly on Netflix. Still, the move could provide an auspicious entry into the American market.

The dramatic developments in The Woman Who Ran, the 24th film written and directed by Hong Sang-soo since 1996, are mild to say the least.

EDM bangers? Check. Melancholic ballads? Why certainly. Great vocal arrangements which switch from rap to angelic falsetto in the blink of an eye? Step right this way.

So what exactly is all the fuss about? For those of us from a cinema-deprived area, it’s been a long wait for the homevideo release of this much vaunted "masterpiece". And the trailer gives away so much, there’s probably little to surprise us, right? Very wrong.

“They say we all have a beast locked up inside of us,” a character observes early in this Korean crime movie. Monsters are certainly chewing at the moral fibre of police captains Jung (Lee Sung-min) and Han (Yoo Jae-myung) as they corruptly pursue promotion.

To anyone out of their teens or without a grasp of the Korean language, BTS are probably an unknown quantity. Yet, they are probably the most successful boyband, if not the most successful band, in the world. In fact, just as Abba had a massive effect on the Swedish economy in the 1970s, BTS are a game-changing economic asset and boost to South Korea.

With the Oscars approaching, one film building momentum in the fight for best picture – and whose victory would delight all but the most blinkered – is the Korean Bong Joon Ho’s deliriously dark and entertaining black comedy, Parasite. 

Like Snowpiercer before it, Bong Joon-ho’s rage-fuelled satire Parasite puts class inequality squarely in its sights.