Freedom of the press is a core pillar of a healthy democracy; without truth, governments and corporations can control the narrative, turning insidious actions into righteous ones. We’re seeing this now, as the press is increasingly attacked and factual reports are being dismissed as left-wing propaganda. The Assassin(s), Hur Jin-ho’s latest film, centres on uncovering the truth when governments try to cover up their actions. While it takes several dramatic liberties, it still results in a film that keeps you on the edge of your seat.

It’s August 1974, and Moon Tae gwang (Park Jeong-min) has entered South Korea from Japan. He passes through security, but hidden inside his Sony radio is a gun. Jumping ahead to August 15th, Yet Cheol-goo (Yoo Hae-jin), a detective assigned to security at the Liberation Day ceremony, and a young journalist, Han Young-il (Lee Min-ho), covering the event, witness Moon attempt to assassinate President Park during his speech. The attempt is not successful, but the First Lady and a schoolgirl are tragically killed. After the shooting, Yet Cheol-goo and Young-il, along with newspaper editor Jae-hwan (Park Hae-il), begin to question the discrepancies between the official findings and what they witnessed.

Right from the outset, the film’s tone is nothing short of tense, pulling you forward in your seat as if your spine is tightening with sheer nerves. When Moon brings the gun through airport security and a chyron appears indicating we are only days away from the shooting. I knew in that moment I was witnessing something truly special. The build-up to the assassination attempt draws you in completely. The horrific event itself is immaculate filmmaking, letting the film sink its claws into the audience; and once the official statements begin to roll out, you, like the characters, feel compelled to uncover the truth.

Freedom of the press is more important than ever, and the film shows that when the state fully controls the narrative, it doesn’t lead to a free society; it leads to dictatorships and rich people controlling society like it’s a game of chess. Seeing our leads piece together the truth while fighting to bring it to light is what makes this film so captivating. Throughout, we see why freedom of the press and information matters; without it, who will truly be held accountable for the failings of government and companies?

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Shot with precision by Lee Mo-gae, the film looks absolutely striking, with a colour palette that perfectly matches its gritty, 1970s-era political thriller aesthetic. The soundtrack is equally exquisite, enhancing the tension rather than forcing it, and elevating the unfolding narrative to unimaginable heights. Jin-ho has crafted a film like no other, and this is best exemplified by the incredible performances at its core.

Hae-jin has already had an incredible year, delivering one of the best performances so far in The King’s Warden, and he continues that trend here with another powerful, truly sublime turn. Hae-il and Min-ho are equally compelling, giving the press a strong, authoritative presence and delivering the film’s themes with expert precision. The film also features several surprising appearances from other South Korean talents that will delight fans of Korean cinema.

South Korea produces some of the best thrillers ever made, and The Assassin(s) is no exception. It’s a masterfully crafted film that keeps you glued from the opening scene to the final credit. Everything about this picture is perfect—from the acting, score, cinematography, to the direction—and I truly don’t say that lightly. It is easily one of the finest films of the year.

Had its World Premiere at the 2026 Toronto International Film Festival / Yoo Hae-jin, Lee Min-ho, Park Hae-il, Park Jeong-min, Ryu Hye-young/ Dir: Hur Jin-ho / Hive Media

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