Director Hur Jin-ho returns to theaters with “A Normal Family,” a simmering moral drama inspired by Herman Koch’s internationally best-selling novel “The Dinner.” Known for films such as “Christmas in August” and “One Fine Spring Day,” Hur is often associated with delicate and emotionally textured romances. This time, however, he steps into more sinister territory. Set in present-day South Korea, “A Normal Family” examines how quickly the appearance of civility can crack under the weight of instinct and self-preservation. Distributed by Room 8 Films, “A Normal Family” releases onNorth American screens on April 25th after a long festival run starting with its debut at TIFF in 2023.
The film follows two brothers at a moral crossroads. Sul Kyung-gu stars as Jae-wan, a successful attorney with a calculating demeanor, while Jang Dong-gun plays his younger brother Jae-gyu, a pediatrician who still believes in doing the right thing. Their wives, Yeon-kyung (Kim Hee-ae) and Ji-su (Claudia Kim), maintain an uneasy domestic balance that begins to unravel when their teenage children—played with chilling intensity by Hong Ye-ji (Hye-yoon) and Kim Jung-chul (Si-ho)—are implicated in a disturbing act. Ji-su, in particular, emerges as a quiet observer whose poise and presence give the film an unexpected emotional anchor. The young actors, meanwhile, deliver performances that are disturbingly composed, capturing something far more unsettling than adolescent rebellion.
The film unfolds around a recurring dinner between two families, once routine and unremarkable. But after a disturbing act of violence surfaces—first whispered about, then confirmed on video—the tone shifts. What was once a space for connection becomes something far more volatile. Conversations turn cautious, trust begins to erode, and the parents find themselves staring down the possibility that their own children may have crossed a line they can’t defend.
While the entire ensemble delivers grounded and nuanced work, Hur’s steady direction allows each performance to breathe. Claudia Kim, familiar to international audiences from “Fantastic Beasts” and “Avengers: Age of Ultron,” brings a quiet clarity to Ji-su. There’s a natural elegance to her presence that draws the eye, even in moments of silence, and her watchfulness in the role adds a subtle tension that lingers in the background of every scene she enters.
Cinematographer Go Rak-sun captures the characters’ carefully curated world in crisp widescreen compositions that gradually lose their symmetry as the moral fabric of the story erodes. Though the film contains few overt shocks, the emotional stakes are unrelenting. As Hur notes in our interview, “There are parts of people we don’t usually see. A violent side. A hidden side.”
Hur Jin-ho spoke to Awards Focus about the creative path behind “A Normal Family,” from his approach to casting and directing young actors to the cultural shifts introduced in this adaptation. He also shared why he ultimately discarded an alternate ending, and what drew him to examine the ways love and fear can quietly corrode our deepest convictions.
Translation provided by interpreter Jonathan Choi.
Awards Focus: For those who haven’t read the book, how closely does your version stick to the original, and what significant changes did you end up making?
Hur Jin-ho: The themes of morality and family are retained in the film, but I introduced new layers specific to Korea. For example, I added commentary on the country’s intense educational system. I also changed the occupations of the main characters—in the novel, the older brother is a politician and the younger is a doctor. In my film, the older brother becomes a high-earning lawyer, while the younger is reimagined as a more community-driven doctor.
AF: You mentioned the story resonated with you as a father. Were there other ways you personally connected to the families on screen—whether in the marriages or the dynamic between the brothers?
Hur Jin-ho: Rather than relating directly to the characters or their family dynamics, I was more focused on the larger theme—that human beings operate with a basic moral compass. I kept asking myself: what happens when that compass is shaken, especially by one’s own children? That led me to explore the hidden, violent sides of people we otherwise think we know. Those were the thematic questions that drove my process.
AF: There’s a turning point in the film where the audience begins to question whether trauma is responsible for the teenagers’ actions. We see signs of bullying, hints at a volatile parent, and then ultimately the nanny cam footage offers a much starker view. Are we meant to see these kids as shaped by their environment, or simply as innately cruel?
Hur Jin-ho: Rather than focusing on trauma, I was more interested in a shift of perspective. Take the younger brother—he’s portrayed as compassionate and service-oriented. In the car accident scene, he responds with great empathy. But when something happens to his own child, we witness his entire worldview change. It’s this idea that people think, “It’ll never happen to me.” And once it does, their morality shifts. That, more than trauma, was the core of what I wanted to explore.
AF: Even for Western audiences, this is a very recognizable ensemble. Were there any actors you knew you wanted from the beginning—people without whom you couldn’t make the film?
Hur Jin-ho: I had previously worked with Sol Kyung-gu on another project, and I felt he was a natural fit for the role of Jae-gyu. He carries a certain coldness that matched the character perfectly. I also worked with Jang Dong-gun on a Chinese film, and I believed he could portray both the gentleness and danger required for his role. This was my first time working with Claudia Kim, but I had an image of her as someone with a pure presence and a very positive energy, which made her perfect for the role of Ji-su. As for Kim Hee-ae, I’ve always respected her work and wanted to collaborate with her, so I was grateful to finally have that opportunity.
AF: How do you approach directing young actors, especially in roles where they must commit violent acts? Their characters are complex—we feel some empathy, but they also display a disturbing coldness. How did you guide them through that?
Hur Jin-ho: Both actors were selected through auditions, and they’re incredibly talented. The roles are very dark, and I did consider showing more of their sympathetic or positive qualities. As a father, I wanted to present them as more well-rounded. But I realized doing that would shift the film’s focus and potentially dilute the narrative. So we made the decision to leave those moments out.
AF: Given that “The Dinner” is a well-known novel, were you ever tempted to change the ending—or did you film any alternate conclusions? [Spoilers Below]
Hur Jin-ho: Yes. The scene where the family takes a picture after the car accident is meant to serve as a kind of epilogue. I was concerned it might feel too dark to end with the crash alone. We actually shot an alternate ending. In that version, the younger brother performs surgery on the injured teen, who later writes him a letter saying he wants to grow up to become a doctor like him. It was more hopeful, but in the end, we decided not to use it.
AF: What aspect of this film are you most proud of, and how does it fit within the larger arc of your career?
Hur Jin-ho: “A Normal Family” is quite different from my previous work. It’s the first time I’ve really tackled a broader societal issue through film, and that made it a new creative experience for me. In many of my earlier films, the protagonists were warm and emotionally available. Here, the characters are more restrained and ambiguous. That shift in tone was a major departure—and one I’m very proud of.
AF: Thank you again for your time, and congratulations—“A Normal Family” is a powerful film.
Hur Jin-ho: Thank you.