Recently rediscovered as the eccentric master of Korean cinema during the 1960s and 1970s, Kim Ki-young is now widely recognized as one of the leading postwar directors. His films show a wide spectrum of experimentation in film genre and style. His most notable films are psychological dramas that deal primarily with female characters. The prime example is "The Housemaid" (Ha-nyeo, 1960), which features a powerful femme fatale. In this signature work, Kim explores the anxious class tension through the motif of vengeance and sexual obsession.

Im Gwon-taek, a renowned and active Korean film director with an international reputation, came to his own artistic terms when he completed his film "Mandala" in 1980. Since his debut in 1962, Im had been known as a commercial filmmaker, who could efficiently churn out genre quickies, often at the rate of eight per year. From 1980, however, he focused on themes of Korean cultural identity in modern times. Currently, his films enjoy the privileged status of art-house cinema. His renewed status also overlapped with a period of the film movement called "New Korean Cinema" or "New Wave." Along with New Wave directors Park Gwang-su and Jang Seon-u, Im has achieved international recognition. Although his works still bears many of the cinematic traces of 1960s' Korean cinema, they also have strong followings among contemporary film enthusiasts.

Shin Sang-ok, probably the most controversial filmmaker and producer, has produced a diverse body of works since the 1950s. Films such as "Yi Dynasty's Cruel History of Women" (Ijo yeoinui janhoksa, 1969) and "The Houseguest and Mother" take a critical look at Confucian social mores. Shin has made a major contribution to Korean cinema through his mastery of the cinematic genres. His films are often of brilliant mise-en-scene, featuring delicate acting and innovative editing techniques. The contribution of Yu Hyeon-mok to Korean film history is also crucial. His "realistic" film style reflects the legacy of the social commentary-type film so popular during the colonial period. "The Stray Bullet" (1961) is his most famous signature work.