Okja

a review i did for a film class: Rewatching Okja from a transnational perspective made certain elements stand out more, like the mix of Korean and English names in the opening credits. While the readings focused heavily on production and distribution, I couldn’t help but notice how the casting played a significant role in shaping this as a transnational work. Tilda Swinton and Jake Gyllenhaal are familiar names in both Korea and the U.S., ensuring the film appealed to audiences on both sides. Steven Yeun’s inclusion was another smart choice—American audiences knew him from The Walking Dead, but Koreans recognized him as a rare figure of Korean representation in Hollywood. From a Korean perspective, side characters like Choi Wooshik and cameos by Lee Jung-eun and Yoon Kyung-ho reinforced the film’s connection to Korean cinema and culture. These casting decisions, combined with its themes and execution, positioned Okja as more than just a Hollywood production—it became a transnational work that resonated deeply with Korean audiences, tapping into a sense of national pride. As a Korean American, I appreciate how Okja was able to blend aspects of both identities so seamlessly. It also feels like a pivotal moment for Netflix’s collaborations with Korean companies like Studio Dragon, making this film a marker for the changing transnational media landscape.