In this blog post, I’ll examine the conflict, character development, endings, and use of supporting characters and settings in ‘The Zoo Next to the Art Museum’, ‘He Was So Cool’, and ‘Notting Hill’, and consider what structure and elements a Korean romantic comedy should have.

The Beloved Genre: The Potential of the Romantic Comedy

What is the most beloved subject matter for people across all times and cultures? It is likely the story of “love.” Even centuries later, people are still moved by ‘Romeo and Juliet’ and shed tears over their love. Because love is such a universal emotion that resides in everyone’s heart, it is only natural that there are countless literary works, films, and songs based on this theme—and that they are universally loved.
Among love stories, audiences today tend to prefer romantic comedies that leave them feeling cheerful and with a smile on their faces. Reflecting this trend, almost no melodramas have been produced in recent years. Love stories—and romantic comedies in particular—are so beloved by the public that they have become the most popular icons in Korean theaters today.
Thanks to this demand, the Korean romantic comedy market has grown significantly compared to the past. However, this is merely quantitative growth. Although many films are being produced to meet demand, the number of truly entertaining romantic comedies that satisfy audiences is relatively small compared to the total number of films produced. Most romantic comedy films are imitations that follow the themes, plots, and structures of previous successful films. As a result, it’s not uncommon to feel bewildered after watching them. Even recently produced films adapted from web novels or those centered on teenage marriage have seen only the very first films of their kind receive audience love, while the rest have been shunned by both audiences and critics alike. However, it’s difficult to conclude that a film is well-made simply because it attracted a large audience. While popular films cannot afford to ignore their audience, evaluating a film solely based on audience reception is far from sufficient. Among Korean romantic comedies, there are quite a few films that were box-office hits but left much to be desired in terms of content. Take “My Sassy Girl” as a prime example: although it was a massive box-office success, it was criticized by many audiences and critics for its lackluster content.
Therefore, the screenwriting collective “Love Affairs” aims to present a model for a well-crafted romantic comedy that can succeed both in terms of content and box office performance. We analyzed ‘The Zoo Next to the Art Museum’, widely regarded as a successful romantic comedy, to understand why it became such an entertaining film, and examined ‘He Was So Cool’, a failed film, to identify the reasons why it failed to resonate with audiences. Finally, using ‘Notting Hill’ by Working Title Films—a prime example from abroad—we analyzed their know-how to discuss what structure and elements a romantic comedy must possess to succeed in Korea. From here on, we’ll gradually explore the Korean-style romantic comedy as analyzed and proposed by “Love Affairs.”

Korea’s Well-Made Romantic Comedy, “The Zoo Next to the Art Museum”

Director Lee Jeong-hyang’s debut film, “The Zoo Next to the Art Museum,” is a romantic comedy that follows the events unfolding between Cheol-su (played by Lee Sung-jae), a soldier on leave, and Chun-hee (played by Shim Eun-ha), a wedding videographer. Released in December 1998, the film was a huge success both at the box office and with critics, and it remains an essential work that is invariably mentioned when discussing Korean romantic comedies. A look at viewer reviews posted on a movie website reveals many positive comments, such as “a well-made romantic comedy” and “a director with a knack for evoking empathy,” while film critic Yoo Ji-na praised the film, saying, “How charming is a movie that features living, breathing female characters?” So, specifically, in what ways is ‘The Zoo Next to the Art Museum’ a well-made romantic comedy? First, let’s examine the characteristics of a great—that is, entertaining—romantic comedy, and then apply those to ‘The Zoo Next to the Art Museum’.
A romantic comedy is a genre that shows how the male and female protagonists overcome conflicts arising from gender differences, personality clashes, and class disparities to ultimately succeed in love. In a romantic comedy, the character setup and portrayal of the protagonists are crucial. Audiences must be able to relate to the protagonists as if they were in the same situation. That said, these protagonists should have flaws and imperfections rather than being perfect. After all, if two people with absolutely no flaws or imperfections were to meet, there might be romance, but there would be no comedy. An entertaining romantic comedy requires an ironic situation where the protagonists’ flaws and shortcomings trigger various episodes and lead to arguments, yet ultimately draw them to each other. In conclusion, the success or failure of a film hinges on whether these male and female protagonists can evoke universal empathy from the audience.
Now, keeping these characteristics in mind, let’s examine ‘The Zoo Next to the Art Museum’. When examined at a deeper level, this film follows the typical romantic comedy structure of “meeting—conflict—resolution—happy ending.” The most important element in creating a vibrant romantic comedy is conflict, and here it is crucial whether the two protagonists are truly “fighting on equal footing without ceasing.” Conflict where one side unilaterally takes the lead inevitably diminishes the entertainment value. In this film, Cheol-su and Chun-hee are characters who refuse to compromise on their lifestyles or ways of thinking. When Cheol-su starts using informal speech rudely from their very first meeting, Chun-hee doesn’t back down and fires back in kind. Some say the resurgence of Korean romantic comedies began with gender equality—specifically, female protagonists who openly speak their minds to male protagonists. And Cheol-su and Chun-hee engage in a relentless battle of wits throughout the film.
As Cheol-su and Chun-hee begin living under the same roof, the sexual differences between men and women are the first to spark conflict. Cheol-su possesses the masculinity—typically considered a masculine trait in society—characterized by a headstrong and action-oriented nature, yet he also has a androgynous charm marked by meticulousness, diligence, and thoughtfulness. On the other hand, Chun-hee is a character who, despite possessing a tender heart and sensitive, delicate femininity, comes across as indifferent, down-to-earth, messy, and lazy. Rather than dichotomizing typical gender stereotypes and pitting them against each other, the film draws the audience’s empathy by depicting two vivid, androgynous protagonists clashing over their gender differences.
Furthermore, as the title suggests, the differences in the protagonists’ personalities are contrasted by Chun-hee’s “art museum”-like traits and Cheol-su’s “zoo”-like traits. Chun-hee’s values regarding love can be described as idealistic, romantic, and spiritual. Chun-hee believes in the purity of first love—falling head over heels in an instant—and adopts a passive attitude toward the person she loves. In contrast, Cheol-su holds the view that love is highly pragmatic and instinctive. When Cheol-su, who is suffering from the pain of a broken heart, declares that “there is no such thing as (ideal) love” and “sex is an instinct,” it becomes clear that he views love as deeply pragmatic and physical. Conversely, the class differences between the two are not evident in this film.
These conflicts are gradually resolved as Cheol-su stays in the same house with Chun-hee and works on a screenplay with her. In the screenplay titled “The Zoo Next to the Art Museum”—which shares the film’s title—their differing values regarding love clash and create conflict, but this conflict itself provides an opportunity for them to find common ground. In particular, through the screenplay, Cheol-su projects himself onto the character In-guk (played by Ahn Sung-ki), while Chun-hee projects herself onto Da-hye (played by Song Sun-mi). This frame-within-a-frame structure—which expresses Cheol-su and Chun-hee’s love through the conflicts and mutual understanding of the screenplay’s protagonists—is one of the film’s most outstanding features. In this way, the supporting characters serve to highlight the conflict between the two protagonists and, in turn, play a pivotal role in its dramatic resolution—a key element of romantic comedies. Furthermore, the film effectively conveys a spirit of tolerance, as the two protagonists come to understand each other on a human level through the completion of the screenplay and realize their love for one another.
On the other hand, another strength of ‘The Zoo Next to the Art Museum’ lies in the ambiguity of its ending. Having realized they love each other, the two protagonists meet at the point where the paths from the art museum and the zoo converge. Even in the final scene, Cheol-su and Chun-hee continue to bicker—trying to go their separate ways or briefly avoiding a kiss—but the film concludes with them laughing and walking down the same path together after sharing a kiss. While this is clearly a happy ending, based on the story so far, it’s impossible to say for certain whether these two will get married and live happily ever after, continue their relationship while bickering, or eventually break up due to personality differences.

The Lost Romantic Comedy ‘That Guy Was Cool’

As the 2000s began, Korean cinema experienced repeated quantitative expansion, and the adaptation of web novels into films became a trend. Through ‘That Guy Was Cool’ (2004)—which can be considered a prime example of this trend—I aim to examine the trends in recent Korean romantic comedies.
The main narrative revolves around the events that unfold after Ji Eun-sung (played by Song Seung-heon)—a handsome, top-ranked fighter in his high school’s delinquent gang—posts a message on a website, and Han Ye-won (played by Jung Da-bin), an ordinary high school girl, leaves a profane comment in response, leading the two to meet. Early in the film, Eun-sung demands that Ye-won take responsibility for accidentally kissing him, and while Ye-won initially resents him, she begins to develop feelings for him after he saves her from a would-be kidnapper. The plot culminates in their reunion on the day the first snow falls, following various twists and turns.
This film has the structure of a romantic comedy at its core, and on the surface, by addressing high school students’ use of the internet, school gangs, and nightlife culture, it could have been an entertaining romantic comedy—but ultimately, it fell short. First, let’s examine whether the two main characters are constantly arguing on equal footing, and what the reason is for that argument—that is, the source of their conflict. To begin with, the film portrays gender differences in an overly conservative manner. Eun-seong is a rough, violent, rebellious man who acts on impulse, while Ye-won is a timid, passive woman who constantly needs a man’s protection and support. These gender differences create a situation where Ye-won is constantly teased by various men or put in danger, and Eun-seong always comes to her rescue. Even the fights between the two protagonists are always weighted in favor of the man; rather than being a genuine fight between a man and a woman, it feels more like the woman is being dragged along unilaterally. Their personalities also reflect these conservative gender stereotypes, making Eun-seong seem like a typical outsider and Ye-won like “Candy” from a romance manga. In terms of social class, Eun-seong is the leader of a school gang and belongs to a relatively affluent class, while Ye-won is an ordinary high school girl from a less affluent background.
However, none of the conflicts mentioned above directly contribute to the protagonists’ disputes. To list the causes of their conflicts: Ye-won’s decision not to attend Eun-sung’s birthday party and instead meet an old friend; the formation of a love triangle following the appearance of Kim Hyo-bin, a girl in the school gang who has a crush on Eun-sung; Eun-sung’s inability to endure the mocking glances from the other members of the school gang; a love triangle involving Kim Han-seong, a senior in the school gang who has a crush on Ye-won; and the circumstances surrounding the death of Eun-sung’s father (AIDS) and the death of his older brother, whom he loved. This succession and combination of inconsistent conflict elements fails to generate any dramatic tension in the narrative; rather, it leaves the audience unable to grasp what the story is even about. Even from the perspective of mutual understanding and tolerance, the two protagonists give the impression that they continue their relationship by viewing each other as objects of admiration until the very end, rather than overcoming their conflicts through mutual understanding.
Furthermore, there is absolutely no ambiguity in the film’s ending. Eun-sung, who had left for the United States to keep their promise to meet on the day of the first snow, returns, and Yeo-won runs to the meeting place in the middle of her college entrance exam. As the two reunite, the background is rendered with CGI to resemble a fairy-tale paradise, and the protagonists appear blissfully happy, as if they have achieved the most ideal love story.

Working Title Films’ ‘Notting Hill’

This film follows the typical narrative structure of a romantic comedy—“meeting, conflict, resolution, happy ending”—and has a somewhat clichéd ending. It has also faced criticism for being a “male version of Cinderella.” However, it was a huge box-office hit not only in the English-speaking world—its original target audience—but also globally, and it helped establish Working Title Films’ signature style, following in the footsteps of ‘Four Weddings and a Funeral’.
In ‘Notting Hill’, what differences between the characters will drive the story forward? William (played by Hugh Grant) and Anna (played by Julia Roberts) do not exhibit any particular sexual differences. However, the film highlights personality differences stemming from cultural differences between Britain and the United States, as well as class differences arising from their economic and social statuses. William is somewhat naive and timid, and while he may not appear particularly energetic, he embodies the quintessential British gentleman—polite and formal, even calmly persuading a thief in his own shop. In contrast, Anna is impulsive and assertive, displaying an open-minded attitude by readily initiating a kiss on their first meeting. She is portrayed as a lively American woman who always appears glamorous but harbors inner wounds—though she does not let those wounds hold her back. Furthermore, while William seems content to remain within the confines of his own world, Anna Scott freely crosses those boundaries at will.
However, these personality differences do not serve as the primary source of conflict. Rather, they struggle due to the class divide between them: William is struggling to keep a small bookstore afloat despite operating at a loss, while Anna is a world-renowned movie star and a woman of the upper class who earns $15 million per film. William realizes that the differences between them are too clear and too great for them to truly understand one another. So, even though he cannot forget Anna, he does not dare to approach her. However, it is Anna who reaches out to him, and the story concludes with them overcoming the class divide that existed between them in the name of love.
A well-crafted romantic comedy does not deceive the audience with the predictable lie that all problems are fundamentally resolved by the end. Instead, while the root problems remain unresolved, the story concludes with the couple acknowledging their differences and resolving their conflicts through a spirit of tolerance. Unfortunately, however, ‘Notting Hill’ ends with the couple living happily ever after, with no problems whatsoever following their marriage. Still, perhaps a happy ending suits ‘Notting Hill’ better than an ambiguous one. On a park bench, William is reading a book with great ease, and Anna, resting her head on his lap, already has a slightly rounded belly. The sight of the two of them is so serene that it puts the audience in a good mood.
One of the strengths and defining features of Working Title romantic comedies is that they establish archetypal male and female lead characters in advance and skillfully utilize them as a formula for success. The male leads they portray are typically a bit clumsy but not ignorant or foolish; they’re relatively handsome and well-off. However, they comfortably wear the inferiority complex of a “second-rate life” like a well-worn garment, embodying the image of a British gentleman from a period drama—lacking in vigor but incapable of causing anyone serious harm. The female leads, meanwhile, aren’t strikingly sexy or fresh-faced, but they’re vibrant and full of life. They are portrayed as Americans who live with the scars of past heartbreak but do not make a big deal out of it; rather, they are proactive in pursuing new love.
Working Title cast Hugh Grant—who appeared relaxed and gentle without seeming too smart or cold—and Julia Roberts, who had already risen to global stardom thanks to ‘Pretty Woman’, as the two actors best suited to bring these characters to life in ‘Notting Hill’. In fact, featuring a British male lead and an American female lead added to the film’s realism, and the actors portrayed their roles so convincingly that viewers were left with the impression the script had been written specifically to fit their personalities after they were cast.
Working Title has a knack for imprinting its unique style not only on the characters and casting but also on the settings. As seen in ‘Notting Hill’, they typically set their films not in the chaotic, high-rise-filled cities of the U.S., but in quiet British small towns with lush green parks and beautiful architecture—allowing audiences to relax and let go of their daily stresses, even if just a little. However, the image of Britain they portray is a non-violent, pristine world composed solely of polite middle-class people; it is more an image of Britain as a tourist destination than a living, breathing Britain. Perhaps this idealized image not only subtly satisfies the underlying sense of inferiority and admiration for Britain that many Americans harbor, but also played a significant role in the series’ massive global success by showcasing the image of a relaxed and polite Britain.
Furthermore, Working Title does not produce romantic comedies that merely pursue light commercial appeal by highlighting the tense tug-of-war between men and women. Instead, by incorporating the stories of friends who gather for drinks—each grappling with stalled careers and their own share of failures—the studio reinforces a sense of realism that might otherwise be weakened, and by grounding the film in a deep understanding of human relationships, it creates a film that is far from frivolous. A scene like this occurs when Anna accepts William’s invitation to dinner: someone suggests awarding the last remaining slice of cake to the person with the worst luck, and one by one, they begin to share stories of their gloomy daily lives. Bernie, who’s constantly berated at work and hasn’t had a girlfriend since puberty; Hani, who earns a weekly wage of 20 pence, has hair as coarse as dog fur, and bulging eyes that look as if they might pop out at any moment, and who keeps meeting only bad men, causing her heart to sink; Bella, who is confined to a wheelchair and cannot have children; William, a divorced slacker whose business is failing and whose looks are fading; and Anna, who started dieting at 19, has starved herself for over a decade, has been beaten, has had to undergo plastic surgery twice, and whose beauty is now withering away, gradually fading from people’s memories. Perhaps it is precisely because the stories they tell reflect our own hidden facets that we find ourselves silently empathizing with them.

Factors Contributing to the Success of Romantic Comedies, as Seen Through These Three Films

As we’ve seen, in ‘The Zoo Next to the Art Museum’, ‘He’s Just Not That Into You’, and ‘Notting Hill’, the differences between men and women in terms of gender, personality, and class—which are inherent to romantic comedies—are portrayed with varying degrees of emphasis and in different ways. A good romantic comedy does not need to include every possible element of conflict experienced by a man and a woman. However, it is essential for a romantic comedy that, as the protagonists’ love story unfolds, some aspect of the conflict arising from differences in gender, personality, or class—be it between the man and woman, between their personalities, or between their social classes—be clearly revealed and resonate with the audience.
As seen in the example of ‘That Guy Was Cool’, if none of these three types of conflict is revealed—or if they are revealed but are so minor that they quickly disappear—the romantic comedy lacks the power to generate tension and curiosity within the film. In ‘The Zoo Next to the Art Museum’, the characters of Chun-hee and Cheol-su use the imagery of the “art museum” and the “zoo” to emphasize the differences in their values regarding love and their personalities, making these differences the primary source of conflict between them. In ‘Notting Hill’, the difference in social class, rather than gender or personality differences between the two protagonists, serves as the primary source of conflict. Above all, given that the appeal of romantic comedies lies in the romantic spats arising from sexual, personality, and class-based conflicts between the male and female leads—and the process of resolving them—the planning of a new romantic comedy must begin with clearly establishing and resolving the conflict structure that forms the core of the film.
In the case of South Korean romantic comedies, there are many instances where the conflict arising from class differences—and its resolution—is not considered particularly important, with the attitude that “as long as they love each other, that’s all that matters.” However, class conflict is significant.
If the film ends with merely romantic spats without depicting or explaining the characters’ social statuses or the conflicts arising from them, it may entertain the audience, but it will be difficult to elicit empathy or advance the genre from a progressive perspective. Highlighting conflicts stemming from economic disparities or differences in educational background—which play a significant role in South Korea—and showing that the two characters cannot easily come together due to these class differences reminds the audience that this is not merely a fantasy or a dreamlike story. Furthermore, as the audience watches the two protagonists accept these conflicts and reconcile, they experience vicarious satisfaction through the film.

Creating a Distinctive Style for Korean Romantic Comedies

“Love Affairs” posited that, in order to develop conflicts arising from differences between men and women and between personalities—and their resolutions—distinct characterizations of contrasting male and female protagonists must be established first. Above all, it is crucial not to simply highlight the differences between the two characters, but to ensure that these characters evoke likability and empathy in the audience. Considering that the primary audience for romantic comedies consists of women in their 20s, it was deemed essential that the female characters in these films reflect the changing mindset of today’s Korean women—who are progressive and independent. This refers to a character who is in her late 20s to early 30s, works in a professional field, has achieved direct or indirect independence from her family and parents, and possesses clear values regarding life and love—making her assertive and honest. However, the characterization must also include traits that capture the interest of both the audience and the male lead. Rather than portraying the image of a perfect career woman, the character should embody a woman who enjoys life’s little moments and is also prone to being swept up by them—exemplified by unique hobbies, habits, or superstitions. For the male character, we deemed it appropriate to create a character who is stubborn and assertive yet possesses a sense of ease and romance in life.
To depict the conflict arising from class differences, the protagonists were assigned different social classes. Unlike the woman, who works in a professional field, the man is positioned in a lower social class—as a street food vendor, taxi driver, or construction worker—but is portrayed as a character with cultural sophistication and knowledge, without appearing shabby or pitiful. Just as Working Title Films developed Hugh Grant’s persona to create the “Working Title-style” British male lead, ‘Love Affairs’ could focus on and diversely portray such female characters in the future.

Other Box Office Elements

In addition to these three core conflicts that form the backbone of a romantic comedy, as seen in the examples of Working Title Films, we can incorporate elements that add to the film’s entertainment value and meaning. These elements—such as the supporting characters and cultural backdrop depicted in the film—serve as another factor in creating the unique personality and style of ‘Love Affairs’ as a Korean-style romantic comedy. In ‘Notting Hill’, the roles of supporting characters—such as the eccentric friend, the friend with a disability, and the punk younger sister—served to highlight the protagonists’ personalities or bring the small, everyday problems of life beyond romance into the film, lending it a sense of realism.
At times, they provided opportunities for conflict and misunderstanding or helped resolve them, while their diverse personalities added to the film’s entertainment value. Like in ‘He Was Cute’, ‘Love Affairs’ will elevate the significance of supporting characters—who in many Korean romantic comedies are typically limited to roles as love’s helpers or saboteurs—by portraying them in a more diverse and nuanced manner.
Furthermore, by leveraging the cultural backdrop of “Korea,” the film will actively incorporate positive images of the country. Examples include actively utilizing the dynamic and vibrant image of Seoul (Dongdaemun and Namdaemun Markets, Insadong, etc.) as a setting, along with the beautiful seas and fields of Jeju Island and the rivers and lakes of Chuncheon.
Through the discussions thus far, the romantic comedy ‘Affair’ aims to create a unique romantic comedy that embodies a distinctly Korean flavor while resonating with a diverse audience. The goal of the ‘Affair’ screenplay team is to produce romantic comedy content that, from a long-term perspective, can expand beyond the Korean market to reach Asian and global markets.