#kww2025

[haeyeongs]

#KDRAMAWOMENSWEEKS | Hitmaker Kim Tae-ri's incredible filmography since 2016

The Handmaiden (2016) · 1987: When the Day Comes (2017) · Little Forest (2018) · Mr. Sunshine (2018) · Space Sweepers (2021) · Twenty-Five, Twenty-One (2022) · Alienoid (2022) + Alienoid: Return to the Future (2024) · Revenant (2023) · Jeongnyeon: The Star is Born (2024)

[krushing]

#KDRAMAWOMENSWEEKS 2025 ↳ 2020: make her a genius! + 2019: favourite daughter (in-law), 2022: competence p*rn

Jeon Yeo-Been as Hong Cha-Young in Vincenzo (2021)

[liveasbutterflies]

#KDRAMAWOMENSWEEKS

Hitmaker: This is all about giving them recognition and credit. A prompt for the actresses with double-digit smash hits, critical success-makers, those who navigated their way into becoming the headliners, the ones don’t get recognition they deserve.

KIM HYE YOON: Lovely Runner (2024) · Snowdrop (2022) · Ditto (2022) · Girl with a Bulldozer (2022) · Midnight (2021) · Secret Royal Inspector & Joy (2021) · Extraordinary You (2019) · Sky Castle (2019)

[theerakits-archive]

KWW2025 : Throwback Moon Dong Eun in The Glory [2022]

[kdramaladies]

#KDRAMAWOMENSWEEKS 2025     —March 1st - March 31st

HAPPY 10th BIRTHDAY TO KDRAMA WOMEN'S WEEK!!! For its 10th year anniversary, the event is evolving into a month-long celebration and becomes KDRAMAWOMENSWEEKS. We invite you to join us in March for a whole month dedicated to showing our love to our favourite women of Korean drama and film with prompts created by @dramaheroine. We are forever grateful to @digimoo for creating this event with @undergroundkdrama. A massive thank you to those who hosted and organized the event since 2025: @dramaheroine , @gudansoo and @gudongmae.

Join the event by creating visual content (gifs, fanart, edits, etc.) or just talking about your favourite kdrama women inspired by the prompts below. Please tag your posts with #KDRAMAWOMENSWEEKS and/or #kww2025, so they are easier to find, admire, and reblog.

The Double

This is all about giving the spotlight to those behind the scenes. A prompt for the increase in dramas both written by women and directed by women, the rise of many female directors, the continued power of the big names, the lesser-known stars, all those behind the camera…

Throwback (or first love is best love)

This is all about remembering where we started and our shared decade in Kdramas. A prompt for the female centric kdramas and female characters we have loved over the past decade, maybe our first loves that started it all (2015-2025)...

Hitmaker

This is all about giving them recognition and credit. A prompt for the actresses with double-digit smash hits, critical success-makers, those who navigated their way into becoming the headliners, the ones don’t get recognition they deserve

Into the new world

This is all about seeking the goodness out there. A prompt for dramas that highlight issues concerning women and marginalised groups, that give hope and assurance for the future of kdramas and maybe of the world…

Please also feel free to be inspired by the prompts from previous years (2015, 2016, 2017, 2018, 2019, 2020, 2020 Part Deux, 2021, 2022, 2023, 2024)

[linjingshu]

#KDRAMAWOMENSWEEKS 2025 [year 2017 day six; strong foundations // ON WOO JOO]

Perhaps all of this was caused by your desperate sincerity.

FRANKLY SPEAKING 비밀은 없어 (2024) dir. Jang Ji Yeon

frankly speaking is possibly my favorite kdrama of 2024. it's written and directed as two women's sophomore project that often suffers from indecision on what sort of story it wants to tell at the beginning, but if you ask me it gradually finds its footing along the way. and it does so in a manner that makes you glad to have stuck around to see the process at work.

i don't want to wax lyrical on what the drama itself is about & i'm of the opinion that it's best to go into it blind, so that makes talking about what i love in on woo joo, its enterprising & people savvy senior variety writer heroine, all the more difficult.

all 3 main characters of frankly speaking are connected to one another via either a lie or an unfortunate truth that they've spoken aloud while trying to help each other. all 3 of them are people who are so accustomed to donning a mask that it's gradually replaced their own faces, and their bodies have kept the score. song ki baek embraces the artifice in order to set himself apart from his origins of poverty, kim jung heon his celebrity persona in the hopes that eventually his success will prove redemptive & bring back the people he's lost along the way. on woo joo's case is a bit different from the other two's in that she doesn't have anything she's running away from or toward, in the beginning: against all odds, she's just trying to do the work she's good at.

she's the responsible center of the story & a place of stability for many characters of the cast. she keeps her emotional distance, makes concessions wherever necessary and keeps the torch burning, so to speak. even to the people she can't forgive she's never unkind. kang han na plays her with such dynamism that even watching her in her element makes you want to find yours.

but the entrance of ki baek into her life and the responsibility she feels about having indirectly caused his plight upends her world. she's no longer a writer but character, and no character is ever allowed permission to not participate in their own life. what do your attempts at caring for others & the mistakes you make surrounding those attempts look like, once you cease to have control over their narrative weight?

it's not until the last quarter of the story that we delve into the things that have made on woo joo who she is today & it occurs during her period of hibernation where she's virtually unemployed & not working on a project. the ties that bind her have always been those of gratitude, and regardless of how much she's stifled herself while adhering to them, the story itself has a place for her very late teenage rebellion and the airing of her grievances; the support she's provided to the people around her returns to her tenfold in her moment of crisis that she doesn't even manage to acknowledge as one before she has to articulate someone else's for them, later on.

it's nothing particularly subversive & the bar itself is very low, but i've really admired the quiet but steadfast way in which frankly speaking loved her. in our eternal pursuit to be good to the people we care about in order to stave off the inevitable dread of existence we often forget that they want to be good to us, too. it hurts them when we don't hold them to the same standards that we do ourselves. the work of showing up for others itself is not thankless, not when it is all that we have to keep ourselves tethered to the world at large. and i liked how this drama let on woo joo have the time to reach her own conclusions about it :)

[dramaheroine]

#KDRAMAWOMENSWEEKS

THE DOUBLE:

This is all about giving the spotlight to those behind the scenes. A prompt for the increase in dramas both written by women and directed by women, the rise of many female directors, the continued power of the big names, the lesser-known stars, all those behind the camera…

The legacy of Lee Yoon-Jung: Starting from feeling

(Cheese in the Trap/Heart to Heart/Motel California/a Google translation of https://www.iworldtoday.com/news/articleView.html?idxno=187341#google_vignette)

'치즈인더트랩' 박해진 분량 축소와 원작 결말 얽힌 최종판은? [월드투데이 김미라?기자] 26일 논란이 되고 있는 이윤정 pd는 연세대학교 신문방송학과 출신으로 어릴적 부터 막연히 드라마를 하고싶다는 생각으로 신방과에 들어갔고, 학교를 다니는 4년

This is inspired by the fact that one of the directors who worked on Motel California, Jang Joon-Ho was an assistant director for Coffee Prince. He dropped out of the filming early though but I like to think he and hence Lee Yoon-Jung had some influence on the drama. Even without that link, there are many parallels between the early works of Lee Yoon-jung and Motel California, in particular, an emphasis on complex thoughts and emotions of the unconventional heroines.

[haeyeongs]

#KDRAMAWOMENSWEEKS | 2021, Day 4 & 8: All the Weirdos and Loners & A Moment of Peace and A Moment of Tenderness

YEOM MI-JEONG in MY LIBERATION NOTES (2022) dir. Kim Seok Yoon I feel so lovable. Trudging on… step-by-step. There's nothing but love in my heart.