[K-STAR 7] The Eternal Persona of Korean Cinema, Ahn Sung-ki

On January 5, 2026, at 9 AM, the Korean film industry lost one of its greatest pillars. The actor Ahn Sung-ki, who was naturally referred to as the 'national actor', passed away at the age of 74 at Soonchunhyang University Hospital in Yongsan, Seoul. His death was not just a simple obituary of a famous person. It was a signal that a chapter in the history of Korean cinema, which blossomed from the ruins after the Korean War, had come to a close.  

At the end of 2025, when the cold winter wind was blowing, he collapsed at home and never got up again. Having battled blood cancer since 2019, he once received a clean bill of health and burned with the will to return to the set, making the public's sense of loss even greater. He never let go of his connection to film, even while bedridden, and until the moment his consciousness faded, he dreamed of returning, reading scripts and saying, "Time heals all wounds," as a born actor.

To overseas readers, the name Ahn Sung-ki may seem unfamiliar compared to the young stars leading the recent K-content boom. However, he is the figure who laid the fertile ground for Bong Joon-ho's 〈Parasite〉 to lift the Oscar and for 〈Squid Game〉 to hit the world. He possessed the gentlemanly dignity of Gregory Peck, the approachable charm of Tom Hanks, and the acting spectrum of Robert De Niro all at once.  

He started as a child actor in the 1950s and has traversed nearly 70 years through the tumultuous periods of Korean society up to the 2020s. From censorship during military dictatorship, the fervor of the democratization movement, the struggle to protect domestic films through screen quota battles, to the renaissance of Korean cinema that finally arrived, Ahn Sung-ki was at the center of all those moments.  

This article aims to explore modern Korean history and film history through the life of the actor Ahn Sung-ki and to analyze in depth what his legacy means to current and future filmmakers.

The first signs of Ahn Sung-ki's health issues emerged around 2020. Diagnosed with blood cancer in 2019, he approached treatment with his characteristic strong will and was declared cured in 2020. However, the cancer was persistent. The disease recurred after six months, tormenting him, but he did not want to show weakness in front of the public. His appearance, wearing a wig and showing a swollen face at official events while maintaining a smile, touched many hearts.  

His final days were tragic, yet they were also a struggle to maintain dignity as a filmmaker. On December 30, 2025, he was transported to the hospital in cardiac arrest after food got lodged in his airway, and for six days, he stood at the crossroads of life and death in the intensive care unit. Then, on January 5, 2026, he peacefully closed his eyes while surrounded by his family.

His funeral was held as a 'film industry funeral' that went beyond a family funeral. This is the highest honor reserved for those who have made significant contributions to the development of Korean cinema. The funeral committee, organized by the Shin Young-kyun Arts and Culture Foundation and the Korean Actors Association, was composed of prominent figures from the Korean film industry.

The funeral hall was a sea of tears. In particular, actor Park Joong-hoon, who had worked on numerous masterpieces with the deceased, including 〈Two Cops〉 and 〈Radio Star〉, took it upon himself to welcome guests, weeping as he said, "The 40 years spent with my senior were a blessing. I cannot express this sorrow in words." Global stars like Lee Jung-jae and Jung Woo-sung from 〈Squid Game〉 also stood solemnly at the wake, bidding farewell to their great senior.  

The government recognized the deceased's contributions and posthumously awarded him the 'Golden Crown Cultural Medal', the highest honor given to cultural and artistic figures. This signifies that he was recognized by the state as a figure symbolizing Korean culture, beyond just being an entertainer.

Ahn Sung-ki was born on January 1, 1952, in Daegu during the Korean War. His father, Ahn Hwa-young, was a film producer, and this family environment naturally led him to step into the film industry.

His debut work was director Kim Ki-young's 〈Twilight Train〉 in 1957, when he was only 5 years old. Post-war Korean society was filled with poverty and chaos, but the little Ahn Sung-ki on screen was a source of comfort for the public. In particular, in 1960, he played the role of a child sacrificed between adult desires and madness in Kim Ki-young's masterpiece 〈The Housemaid〉, showcasing delicate performances that were hard to believe for a child actor. During this period, he appeared in about 70 films and was called a 'genius child actor'.

Ahn Sung-ki overcame the tragedy that most child stars face—failure to transition to adult acting or being forgotten by the public—through wise choices. Around the time he entered high school, he boldly decided to stop acting. This was partly due to the poor production environment of the Korean film industry at the time, but more importantly, it was because he realized that "one cannot become a good actor without experiencing life as an ordinary person."

He enrolled in the Vietnamese language department at Hankuk University of Foreign Studies. The choice of the Vietnamese language department was influenced by the historical context of Korea's involvement in the Vietnam War at the time. Although his major was blocked from employment due to the communist takeover of Vietnam in 1975, his academic studies and participation in theater clubs during college helped him develop a humanistic foundation.  

After graduating from college, he was commissioned as a military officer (ROTC) and served as an artillery officer. During this time, he lived a thoroughly ordinary life as a civilian and soldier. The 'authenticity of the common man' and 'solid sense of life' that later permeated Ahn Sung-ki's acting were assets accumulated during this nearly ten-year hiatus. He abandoned the privileges of stardom and entered the public, allowing him to best represent their faces when he returned to the spotlight.

In the 1980s, Korea was politically in the dark period of Chun Doo-hwan's military dictatorship, but culturally, it was a time when new energy was stirring. Ahn Sung-ki's return coincided precisely with the beginning of this 'Korean New Wave'.

Director Lee Jang-ho's 〈A Good Day to Wind Blows〉 was a monumental work that reestablished Ahn Sung-ki as an adult actor. In this film, he played the role of 'Deok-bae', a young man who moves to the city and works as a delivery man for a Chinese restaurant and an assistant at a barber shop.  

• Analysis: At that time, Korean cinema was dominated by escapist melodramas or state-sponsored films due to censorship. However, Ahn Sung-ki's 'Deok-bae' candidly portrayed the suppressed youth of the 1980s. His awkward speech and innocent expression represented the frustration of the public who wanted to speak but could not under the dictatorship.

In director Im Kwon-taek's 〈Mandala〉, he played the role of 'Beop-un', a practitioner contrasting with the fallen monk Ji-san.  

• Acting Transformation: He shaved his head and lived like a real monk to immerse himself in the role. His restrained inner performance received acclaim from international critics at festivals like the Berlin International Film Festival. This was a case that proved Korean cinema could contain philosophical depth beyond mere melodrama.

Director Park Kwang-soo's 〈Chilsu and Mansu〉 is one of the sharpest captures of the contradictions in Korean society in the 1980s.  

• Plot and Implications: Ahn Sung-ki played 'Mansu', a sign painter who could not pursue his dreams due to the social stigma of having a long-term prisoner (communist) father. The final scene where he and his partner 'Chilsu' (Park Joong-hoon) shout at the world from the rooftop of a high-rise building is considered one of the most iconic endings in Korean film history.

• Context for Overseas Readers: 1988 was the year the Seoul Olympics were held, showcasing Korea as a 'modernized nation' to the world. However, the film pointed out the alienation of the working class and the tragedy of a divided nation hidden behind the glamorous Olympics. The cries they threw from the rooftop as a joke were misinterpreted by the authorities as 'anti-government protests' and suppressed. This was a sharp black comedy about an authoritarian society lacking communication.

After the democratization of the 1990s, with the relaxation of censorship and the influx of corporate capital into the film industry, Korean cinema experienced a renaissance. Ahn Sung-ki occupied a unique position during this time, freely moving between art films and commercial films.

Director Kang Woo-suk's 〈Two Cops〉 is the origin of the Korean buddy movie and a massive hit.  

• Character: Ahn Sung-ki played the role of a corrupt and sly veteran detective, teaming up with a principled rookie detective (Park Joong-hoon).

• Significance: His comedic performance, shedding the existing serious and heavy image, provided a fresh shock to the public. The success of this film established him as not just an 'actor' but a 'box office guarantee'.

Director Jeong Ji-young's 〈White War〉 is one of the first Korean films to deal with the PTSD of soldiers who participated in the Vietnam War.  

• In-depth Analysis: For him, a graduate of the Vietnamese language department and a member of the participating generation, this film was special. He played the role of novelist Han Gi-joo, who suffers from memories of war, depicting how war destroys an individual's soul. At that time, the dispatch of troops to Vietnam was often glorified as the 'cornerstone of economic development' in Korean society, but Ahn Sung-ki exposed the horrific reality of war through this film. He received international recognition by winning the Best Actor award at the Asia-Pacific Film Festival for this work.

Released in 2003, 〈Silmido〉 became the first Korean film to surpass 10 million viewers, opening the 'ten million era' in Korean cinema.  

• Historical Background: The film deals with the tragic true story of Unit 684 (Silmido Unit), which was established for the purpose of infiltrating North Korea but was abandoned in the atmosphere of reconciliation between the North and South.

• Ahn Sung-ki's Role: He played the role of Sergeant Choi Jae-hyun, who trains the unit members but ultimately faces the dilemma of having to execute them under the orders of the state. His line, "Shoot me and go," became a catchphrase. Through this film, he proved that even at middle age, he could still be at the center of box office success.

In director Lee Joon-ik's 〈Radio Star〉, he played the role of manager Park Min-soo, who quietly supports the washed-up rock star Choi Gon (Park Joong-hoon). His performance, though not flashy, resonated deeply and was praised as "the role that best reflects the true character of actor Ahn Sung-ki."  

Ahn Sung-ki is respected as the 'national actor' not only for his acting skills. He dedicated his life to protecting the rights of filmmakers and fulfilling social responsibilities. From the late 1990s to the mid-2000s, during the investment agreement (BIT) and FTA negotiations with the United States, the Korean government attempted to reduce the screen quota (the mandatory screening system for domestic films). In response, filmmakers fiercely resisted, and Ahn Sung-ki was always at the forefront.  

• Significance of Activities: Ahn Sung-ki, who is usually gentle and quiet, shocked the public by appearing in street protests wearing a headband. He proclaimed, "The screen quota is not a matter of fighting over a meal, but a matter of cultural sovereignty." Overseas readers should remember that it was this desperate struggle of filmmakers, including Ahn Sung-ki, that allowed Korean cinema to survive amidst the onslaught of Hollywood blockbusters.

In the late 2000s, as the film ancillary rights market faced collapse due to illegal downloads, he led the 'Good Downloader Campaign' alongside Park Joong-hoon. He recruited stars to shoot promotional videos without guarantees, appealing to the public that "paying a fair price to enjoy content is the way to preserve culture." This campaign played a crucial role in bringing Korean digital content consumption culture into the light.

Ahn Sung-ki has been a UNICEF (UNICEF) goodwill ambassador since 1993, leading efforts to help impoverished children around the world for over 30 years.  

• Authenticity: He was not just a simple promotional ambassador. He personally visited conflict zones and famine areas in Africa and Asia to engage in volunteer work. The UNICEF Korean Committee expressed deep condolences upon hearing of his passing, stating, "He was a strong pillar of hope for children around the world."

After his departure, online communities and social media were flooded with stories of his kindness. This is evidence of how wonderful a person he was. The most talked-about anecdote is from his residence in the upscale apartment 'Hannam The Hill' in Hannam-dong, Seoul. According to a netizen's testimony, Ahn Sung-ki would invite all the staff of the apartment management office, security guards, and cleaners to a hotel for a meal every year at the end of the year.  

• Details: It was not just about paying money. Ahn Sung-ki would wear a suit, and his wife would wear a hanbok, greeting each staff member at the entrance, expressing gratitude, and taking commemorative photos. This reflects his philosophy of valuing people regardless of social status.

Singer Bada recalled that Ahn Sung-ki always took care of her warmly, whether at church or fishing spots, saying, "I could feel the deep warmth of a true adult." Ok Taec-yeon from 2PM shared that during the filming of 〈Hansan: Rising Dragon〉, despite being a senior, he always approached first with a smile to ease the tension. He was an actor who stayed with the staff and juniors even when he had no scenes to shoot.

Throughout his nearly 70 years in the entertainment industry, Ahn Sung-ki was never involved in a single scandal or controversy. His thorough self-management and morality were the greatest forces that made him the 'national actor'. He refrained from appearing in commercials to avoid overexposure of his image and firmly rejected political invitations, choosing only the path of a filmmaker.

Ahn Sung-ki's passing left an unfillable void in the Korean film industry. He was not just an actor. He was a companion who walked the path of hardships and glory that Korean cinema has traversed, a compass for his juniors, and a friend whom the public could trust and rely on.

To overseas readers, Ahn Sung-ki is also the key to understanding the depth and breadth of Korean cinema. The pathos shown by Song Kang-ho in 〈Parasite〉, the energy of Choi Min-sik in 〈Oldboy〉, and the diversity of Lee Jung-jae in 〈Squid Game〉 all carry the DNA of Ahn Sung-ki.

He said, "I want to be an actor who grows old with the audience." And he kept that promise. Rather than reigning from the glamorous position of a star, he always performed with humility, facing people. In the winter of 2026, we bid him farewell, but the over 180 films he left behind and the humanity he showed will forever shine on and off the screen.

"Goodbye, national actor. With you, Korean cinema was never lonely."