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An animated film about a K-pop girl group that battles evil spirits is now one of Netflix’s most-watched titles worldwide.
“K-Pop Demon Hunters,” co-directed by Korean-American filmmaker Maggie Kang and Chris Appelhans, debuted June 20 and quickly topped Netflix’s global chart, according to data from FlixPatrol. Between June 21 and 22, it held the No. 1 position globally, ranking first in 26 countries and landing in the Top 10 in 93. Viewership has been especially strong not only in Asia but also in the US, France and Germany.
The film follows Huntrix, a K-pop trio whose concerts double as supernatural missions. On stage, they use music to maintain a magical barrier called the “honmoon,” which protects the human world from demonic forces. Their main rival is Gwi-ma, a spirit king who preys on human souls and sends demons to defeat the hunters in the form of a boy band, the Saja Boys.
The voice cast includes major Korean stars. Actor Lee Byung-hun from “Squid Game” plays Gwi-ma, and actor-singer Ahn Hyo-seop voices Jinu, the leader of the Saja Boys.
Produced by Sony Pictures Animation, the film blends fast-paced action, fantasy and musical drama. Although primarily in English, the film includes Korean dialogue and is packed with culturally specific details, from folklore creatures like “dokkaebi” (Korean goblins) to everyday habits like visiting traditional medicine clinics and bathhouses.
Audiences have embraced both the visual design and the music. K-pop producer Teddy contributed to the soundtrack, including Huntrix’s “Golden” and Saja Boys’ “Soda Pop.” Twice’s Jeongyeon, Chaeyeong and Jihyo perform the film’s opening number, “Takedown,” and MeloMance’s “Love, Maybe” and Exo’s “Love Me Right” play in their original Korean versions.
Critics and viewers agree on the appeal of “K-pop Demon Hunters.” As of June 24, it holds a 96 percent critic score and 91 percent audience score on Rotten Tomatoes.
The film’s success reinforces Netflix’s belief that “great stories can resonate everywhere, regardless of language or culture,” as Kim Min-young, head of Netflix’s Asia-Pacific content division, said earlier this year.
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