It’s no surprise to anyone: the Korean entertainment industry is a global powerhouse, thanks in part to its partnership with the streaming giant Netflix. Korean productions aren’t afraid to tackle any genre, and this time they’re diving into comedy with a macabre twist. And, although quite remotely, it’s inspired by a true story.
A new South Korean production arrives on the international scene with a bold proposal: to transform the tension of an airline hijacking into a sharp black comedy. “Good News” presents itself as a genre-bending film, fusing a disaster thriller with a biting satire of bureaucratic incompetence and the complexities of international cooperation. The film moves away from conventional drama to offer a witty and “utterly ridiculous” commentary on how institutions react when the lives of hundreds of people hang in the balance.
The narrative centers on a secret mission team, assembled with the goal of safely landing a hijacked plane using any tactic the chaotic situation demands. The film’s originality lies not just in its premise, but in how it uses its tone as its main thematic vehicle. This fusion of genres is more than a stylistic choice; it’s the very tool used to critique institutional inefficiency. The humor doesn’t come from isolated jokes, but from the chasm between the gravity of the situation—a plane full of hostages—and the absurd, selfish, and disorganized response from the authorities. The plot follows intelligence and military teams from South Korea, Japan, and the United States as they employ “wild tactics” and make “increasingly absurd” decisions in their attempt to resolve the crisis.
Set in the 1970s, the film uses dark humor and absurdity as a mirror for contemporary political reality. The hijacking serves as a microcosm to satirize how national agendas and personal egos often hinder the resolution of global crises.
The Plot: A Secret Mission Amidst Chaos and Bureaucracy
The story of “Good News” kicks off moments after a Japanese passenger plane, having just taken off from Tokyo, is hijacked by members of the Red Army Faction armed with knives and firearms. Their demand is clear: they want to be taken to Pyongyang, the capital of North Korea. However, the logistical impossibility of their initial plan quickly triggers an international crisis involving multiple governments and intelligence agencies.
To manage the situation, a secret operation is activated, led by a trio of disparate characters. At the center of the operation are three key figures who must navigate the chaos from the ground and the air:
- ‘Nobody’ (played by Sul Kyung-gu): An enigmatic “problem solver” or “fixer,” a shadowy figure whose identity is unknown but whose work is famously impactful and effective. He acts as the unofficial mastermind of the mission, operating from the shadows.
- Seo Go-myung (played by Hong Kyung): An elite Air Force lieutenant. Described as the most level-headed character with the most sincere reactions, he is drawn into the mission and tasked with carrying out a “double hijacking” of the plane from the ground by manipulating radio signals to regain control.
- Park Sang-hyeon (played by Ryoo Seung-bum): The director of the Korean Central Intelligence Agency (KCIA), who officially commands the operation. His character embodies the bureaucratic power and political complexities of the mission.
The film’s main conflict isn’t limited to the confrontation between the hijackers and the authorities. An equally significant tension arises between the different agencies of South Korea, Japan, and the United States, whose chaotic and often contradictory tactics complicate the already dangerous rescue mission. The concept of Hong Kyung’s character “double hijacking the plane from the ground” serves as a powerful metaphor for bureaucratic control. In their attempt to resolve the crisis, the authorities exert a form of control over the hostages that is just as restrictive and dangerous as that of the original terrorists.
The struggle for control of the aircraft becomes a symbol of the power struggle between different bureaucratic factions, suggesting that state institutions, with their own agendas and internal conflicts, can become a secondary threat to the citizens they are meant to protect. The passengers find themselves trapped not only by the hijackers but also by the geopolitical game playing out at their expense.
The Real Incident: The Hijacking of Japan Airlines Flight 351
While satirical, the plot of “Good News” is inspired by a real historical event that shocked Japan and the world: the hijacking of Japan Airlines Flight 351, known as the “Yodogo Hijacking.” The incident occurred on March 31, 1970, when nine members of the Japanese Communist League’s Red Army Faction, armed with katana swords and a homemade bomb, seized control of the Boeing 727 on a flight from Tokyo to Fukuoka. Onboard were 129 people (122 passengers and 7 crew members) who were taken hostage.
Their battle cry, “We are Ashita no Joe!”, was a reference to a popular manga about a working-class boxer, underscoring their revolutionary identity. Although their initial demand was to fly to Cuba, logistical issues led them to demand passage to Pyongyang, North Korea. The crisis included a failed deception attempt by South Korean authorities, who disguised Seoul’s Gimpo Airport to look like a North Korean airfield. Ultimately, the tense standoff was resolved without any fatalities when the hijackers released all hostages in exchange for a single volunteer: Japan’s Vice Minister of Transport, Shinjirō Yamamura, who offered himself as a guarantee for the passengers’ safety.
The story of the hijackers didn’t end upon their arrival in North Korea. Though initially welcomed as revolutionary heroes, their exile turned into a kind of prison in an impoverished country. Decades later, several of them expressed a desire to return to Japan and face justice, describing the hijacking as a “selfish and conceited” act. North Korean leader Kim Jong-il even used the group as a bargaining chip to secure economic aid from Japan. This ironic twist of fate, where the ideological “freedom” they sought became a cage, adds a layer of tragedy and complexity to the real-life antagonists.
The Satirical Vision of Byun Sung-hyun
Behind “Good News” is Byun Sung-hyun, considered one of the most distinctive voices in contemporary South Korean cinema. His filmography, which includes acclaimed titles like the crime thriller The Merciless (2017), the political drama Kingmaker (2022), and the stylish action film Kill Boksoon (2023), showcases a remarkable talent for visual stylization and bold genre-blending. A recurring theme in his work is the analysis of complex interpersonal relationships, often between men, which he describes as a way of “unraveling stories,” even stating that he conceived The Merciless as a “romance film.”
For “Good News,” Byun makes it clear that his intention is not to create a historical documentary. Although the film is set in the 1970s, his goal is to reflect “the absurdities that continue to resonate through the decades” into the present day. To achieve this, he has opted for a “reinterpreted” atmosphere of the era and employed narrative techniques like breaking the fourth wall, a device that allows the audience to observe the chaos “from a distance” and analyze it with a critical perspective.
This film marks the fourth consecutive collaboration between Byun Sung-hyun and actor Sul Kyung-gu, a director-muse relationship that has reached a point of self-awareness and artistic challenge. The director himself has admitted to feeling “artistic pressure” and being a bit “sick of” the image of Sul in a suit that he helped popularize since The Merciless. Aiming to “extract a different side of him,” Byun studied the actor’s early work to create the character of ‘Nobody,’ seeking to capture his “natural charm.” For his part, Sul accepted the role almost instinctively, demonstrating absolute trust in the vision of his frequent collaborator. This dynamic suggests their work together on “Good News” is not a simple repetition of a successful formula, but an active evolution—a long-term creative dialogue where the director deconstructs his go-to actor to find a new truth in his performance.
The Cast
The true heart of the film lies in its leading trio, a calculated combination that brings together a legendary veteran, a rising star, and a character actor known for his unpredictability.
- Sul Kyung-gu as ‘Nobody’: Considered one of South Korea’s most respected actors, Sul Kyung-gu is known for his incredible versatility and iconic roles in era-defining films like Peppermint Candy (1999), Oasis (2002), the Public Enemy saga, and Silmido (2003). Famous for his ability to physically transform for his roles, earning him the nickname “Mr. Fluctuating Weight,” in “Good News” he plays the enigmatic “fixer,” a role designed by the director to showcase a more natural side, away from his recent suit-clad characters.
- Hong Kyung as Seo Go-myung: Hong Kyung has established himself as one of the most promising young stars of his generation. His acclaimed performance as a young man with autism in Innocence (2020) earned him a prestigious Baeksang Arts Award, and he has continued to find success with series like Weak Hero Class 1 and Revenant. In the film, his role as Lieutenant Seo Go-myung serves as the story’s moral and rational anchor, offering the audience a point of identification amidst the bureaucratic chaos.
- Ryoo Seung-bum as Park Sang-hyeon: Known for his eclectic and often eccentric roles, Ryoo Seung-bum has built a career playing memorable characters in films like Crying Fist (2005), The Unjust (2010), and The Berlin File (2013), many of them directed by his older brother, Ryoo Seung-wan. In “Good News,” he plays the KCIA director, a role that allows him to embody bureaucratic authority, likely with the unpredictable twist that characterizes his acting style.
The selection of these three actors seems deliberate, as their respective careers mirror the archetypes of power they represent. Sul Kyung-gu is the “establishment” of Korean cinema; Hong Kyung is the new generation representing the future; and Ryoo Seung-bum is the agent of chaos, the “outsider.” The film pits these three archetypes against each other, creating a dynamic that reflects the real-world tension between old power structures, idealistic reformers, and unpredictable players who operate by their own rules.
The cast is rounded out by a significant presence of Japanese actors, including Takayuki Yamada, Kippei Shiina, Sho Kasamatsu, and Nairu Yamamoto, underscoring the international nature of the story and production.
Bringing a Historical Crisis to Life
Production on “Good News” was officially announced by Netflix in September 2024, with filming aiming for a high degree of authenticity to recreate the 1970s atmosphere. The production team built detailed sets in the city of Gunsan and even imported a real airplane to ensure the realism of the onboard scenes.
Even before its global release, the film has already generated considerable buzz on the international circuit. Its official selection at two of the world’s most prestigious film festivals underscores its artistic ambition. It had its world premiere in the “Special Presentation” section of the 50th Toronto International Film Festival (TIFF) and its Korean premiere in the “Gala Presentation” section of the 30th Busan International Film Festival (BIFF).
This launch strategy is a significant statement from Netflix. By positioning the film on platforms traditionally reserved for arthouse cinema and awards contenders, the company elevates “Good News” above its vast catalog of streaming content. It seeks critical validation to legitimize it as a prestigious cinematic work, signaling that it is one of their major bets of the year and attracting a global cinephile audience.
The film promises to be a tense and energetic satire that uses a historical event as a backdrop to explore themes of bureaucracy, incompetence, and the absurd complexities of international politics that remain as relevant today as they were five decades ago.
“Good News” premieres on Netflix on October 17.
