대한민국 아카데미 출품작 상위 10편: 1962–2026

A Silver Lion and 100% on Rotten Tomatoes, with the Academy verdict still to come.

Already carrying Venice’s Silver Lion and Korean critics’ Best Film, it is the first entry here whose Academy stage is still pending.

Venice’s second prize and 100% of 56 reviews, with 230,479 admissions — about one-seventieth of this year’s Korean chart-topper.

Won the Silver Lion Grand Jury Prize at Venice 2026, marking director Lee Chang-dong's fourth official entry submitted by KOFIC to the Academy.

Lee Chang-dong's fourth submission arrives with the Silver Lion and a Korean critics' sweep before the Academy stage is even set.

The current submission: a Venice Grand Jury Prize and a 93 Metacritic score make it the strongest South Korean entry on paper since Parasite, but the shortlist is still pending.

Its Venice Silver Lion and perfect RT score aim to bridge the massive gap that has kept Korean dramas out of the final five.

A nine-minute Venice ovation and Golden Globe nominations, then Park's second shortlist exit in three years.

A shortlist finish after a Neon campaign still ended before nomination, extending Korea’s near-miss pattern.

Toronto’s international audience prize, three Golden Globe nominations, a shortlist — and a complete Oscar shutout.

Venice came up short, but the Academy shortlist made it three Korean shortlists in eight years.

Its shortlist placement proves that Park Chan-wook's established critical regard now clears the committee hurdle.

Jeon Do-yeon won Cannes best actress for it, nineteen years before her Oscar talk for Possible Love.

Jeon Do-yeon’s Cannes best-actress prize, the first for a Korean actor there, and the submission still never made the Oscar list.

Earned Jeon Do-yeon Cannes Best Actress honors and unanimous praise, but failed to penetrate the Academy's foreign-language branch in 2007.

Jeon Do-yeon's Cannes trophy made this the rare submission whose star outshone the film's Oscar result.

Jeon Do-yeon's Cannes win highlighted a massive gap, as the Academy historically ignores pure, untranslated grief.

Lee Chang-dong's Venice prize gave Korea its last Venice win until 2012's Pietà, 24 years before Possible Love.

Lee Chang-dong’s Venice directing prize in 2002, twenty-four years before Possible Love, and the submission stopped at the front door.

Took home the Venice Silver Lion and FIPRESCI prize in 2002, yet was completely excluded from Oscar consideration during the pre-shortlist voting era.

Venice gave Lee Chang-dong directing silver and Moon So-ri the Mastroianni; the Academy gave it a submission and nothing more.

Its Venice prizes and 90% RT score were outweighed by its uncompromising subject matter, leaving it entirely unrewarded by AMPAS.

Bong Joon-ho's film was picked over Park Chan-wook's Thirst and went unnominated, ten years before Parasite.

96% from 114 reviews and an 8.1 audience score on Metacritic, sent by the country and never nominated.

Named Best Film by the Boston and Los Angeles film critics societies, yet was completely overlooked by the AMPAS selection committee.

Bong's pre-Parasite submission out-reviewed most winners: 96% RT and 3.0 million admissions from only a Un Certain Regard launch.

A 96% RT Bong Joon Ho masterpiece that suffered the ultimate gap: brilliant at home, completely ignored by the Academy.

Korea's last Venice win before 2026, and it did not reach the Oscar shortlist.

The first Korean Golden Lion, and the critics were at 73% and 72 — the Academy did not even shortlist it.

Won the coveted Venice Golden Lion—the highest prize among all submissions—yet couldn't even make the 9-film Oscar shortlist.

A Golden Lion winner whose extreme narrative created an unbridgeable gap between festival juries and AMPAS sensibilities.

Mobilized 12.2 million Korean theatergoers and won Fantasia's Best Film, yet failed to secure an Oscar nod amid conventional historical storytelling.

The biggest audience in this top ten could not buy an Academy shortlist.

A domestic smash and a 97% Rotten Tomatoes critic score, but the Academy did not shortlist it — another case of popular and critical success not translating into Oscar traction.

Its massive 12M domestic admissions highlight a stark gap: home audience favorites rarely translate to international Oscar votes.