The Real History Behind Netflix K-Drama Aema and the Dawn of Korea’s Erotic Film Industry

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In the latest K-drama series on Netflix titled “Aema“, a seasoned actress grappling with fatigue, a head of a film production company known for his chauvinistic attitudes, a novice director filled with nervous energy, and an aspiring nightclub dancer with ambition join forces to create the nation’s first mature film.

As a devoted cinephile, I’d like to share some insights about the captivating Korean period drama, “Aema.” Although the intricate characters and their personal relationships might be works of fiction, this series is rooted in authentic Korean history. The compelling six-episode narrative finds its inspiration directly from a genuine erotic film that graced Korean screens back in 1982: the legendary “Madame Aema.

As a cinephile delving into the captivating narrative of Aema, I must commend the filmmakers for masterfully weaving a fictionalized tale that sheds light on South Korea’s challenging social landscape during Chun Doo-hwan’s military dictatorship. The story poignantly captures the brutal realities and tensions faced by the nation as it strived to maintain its impressive economic growth and modernize itself, all while preparing for the grand spectacle of the 1988 Seoul Olympics. This thought-provoking depiction serves as a powerful reminder of Korea’s tumultuous past and the relentless pursuit of progress amidst adversity.

Let’s discuss some of the real-life history that informs the comedy and drama of Aema…

What is Aema about?

In a period setting, the film Aema narrates an imaginative portrayal of the true story behind Madame Aema. It’s important to note that all characters featured within this movie are fictional creations. Actress Lee Ha-nee, commonly recognized as Honey Lee by her global fans, takes on the role of Jeong Hee-ran in the film. This character is renowned for her willingness to appear nude in Korean movies.

In simple and conversational language,

Hee-ran is widely admired in the Korean film industry, but she’s tired of being typecast in superficial, overly-sexualized roles. When she receives a script for “Madame Aema,” her last project under contract with the fictional Shinsung Pictures, she decides it’s time to make a change. She publicly declares that she will no longer accept scripts that require nudity in the future.

The head of a prominent studio, Ku Jung-ho from “Uprising”, finds himself in a fit of anger. Instead of choosing a well-known actor for the lead role, he opts for an unknown talent instead and relegates Hee-ran to a supporting position. A determined actress, Shin Ju-ae (Bang Hyo-rin), who is eager to establish herself, decides to reveal more than just her acting skills – she is willing to bare her breasts if necessary, to guarantee a secure future. Intrigued by her tap dance performance, rookie director Kwak In-u (Cho Hyun-chul from “D.P.”) offers her the leading role.

Ju-ae admired Hee-ran greatly, yet Hee-ran perceived Ju-ae as a rival aspiring actress. In an attempt to discourage Ju-ae, Hee-ran tried various tactics, but eventually recognized the up-and-coming starlet as a valuable ally in their shared struggle against a patriarchal film industry and society dominated by men.

Chungmuro: Korea’s historic Hollywood

A significant portion of the story in “Aema” unfolds along Chungmuro, a major street in central Seoul that has been the historical heartland of Korea’s film industry. This area was filled with film studios and cinemas, even hosting one of Korea’s oldest movie theaters, Dansungsa. In “Aema”, Shinsung Pictures is located on Chungmuro.

In the 1990s, as democracy took hold and the Korean New Wave emerged, film agencies started relocating from Chungmuro to areas such as Gangnam across the Han River. Although the heart of the film industry lies elsewhere today, Chungmuro continues to symbolize Korea’s cinema. Notable Korean actors like Song Kang-ho or Lee Byung-hyun are often called “Chungmuro actors” if they have achieved a certain degree of enduring domestic recognition.

Film censorship during Chun Doo-hwan’s military dictatorship

In the depicted series, Madame Aema faced the censorship whims of President Chun Doo-hwan’s committee, which prioritized suppressing anti-government opinions over banning profitable sexual content. Interestingly, Chun was actually supportive of the latter. Serving as South Korea’s military dictator from 1980 to 1987, Chun diverted public attention away from his regime’s violence and oppression by introducing the infamous “3S” policy (sex, sports, and screens), thus paving the way for an era of erotic films in Korea.

As a movie critic, I’d rephrase that as follows:

Upon ascending to the presidency post the assassination of President Park Chung Hee in 1979, my narrative takes a darker turn. In response to the student-led pro-democracy protests ignited by the coup, I chose an unyielding path of suppression. The city of Gwangju witnessed the most horrific manifestation of this crackdown, with over 200 lives lost at the hands of the military. This tragic event is forever remembered as the Gwangju Massacre.

The series, titled Aema, exudes the vibrant, intense atmosphere of the early 1980s film industry, yet subtly or overtly reveals the oppressive fear that characterized the era. During one particularly passionate argument between Hee-ran and Ku, Hee-ran scolds Ku for using Ju-ae to sleep with government officials in order to secure approval for the Madame Aema script. “Who has the audacity to refuse what they demand?” Ku shouts back. “Who in the Republic of Korea possesses the ability to safeguard anything? This is a country where one can disappear and be found dead by dawn!

In the early 1980s, the government of Chun attempted to divert public attention away from violent suppression by promoting and producing adult films. However, this strategy proved unsuccessful as there was still strict censorship and significant editing, resulting in limited freedom of expression. Lee Hae-young, the director of the show “Aema,” highlighted this irony during a press conference for the show. He believes that revisiting this period from a modern perspective can lead to a fresh interpretation and understanding of its significance, potentially conveying a new message in 2025.

The real Madame Aema and Korea’s 1980s “ero” film era

In the wake of the “3S Act,” Madame Aema became the pioneering erotic film in Korean cinema. Known for its explicit sexual content, it was a groundbreaking production at the time. The lead role was played by Ahn So-young as Oh Su-bi, a passionate woman who engages in multiple affairs while her husband is absent. One of the movie’s iconic moments involves Madame Aema riding a horse in the nude until she reaches climax. This film saw tremendous success, ultimately leading to 12 direct sequels, 16 spin-offs, and reboots, sparking a trend for erotic films in Korea. Notably, it was one of only two movies to sell over 100,000 tickets in Seoul during the year 1982.

The movie’s name drew influence from the 1974 French softcore pornographic film “Emmanuelle,” and it was part of a broader movement in Europe and Japan where adult films became more mainstream. In Korea, these movies were commonly referred to as “ero” films, derived from a Japanese term. The movie “Aema” borrows certain historical aspects, such as the modification of its title due to censorship. In both reality and within the film’s narrative, the production was compelled to alter the hanja in the title from characters signifying “horse-loving woman” to characters representing “hemp-loving woman.

In a more conversational style: The movie “Yeong-ja’s Heydays,” which was based on real life and featured Yeom Bok-sun, is one of the films shown in the Aema universe. This 1975 film falls under the “hostess” genre, a popular category during the 1970s in Korea that focused on stories about prostitutes or bar workers like Hee-ran, who seems to have made her acting career from these types of films as suggested by Aema.

In the shared room of working-class women, including Ju-ae, at the start of ‘Aema’, there’s a poster for ‘Yeong-ja’s Heydays’. In this K-drama’s storyline, Hee-ran played a role in the movie. This scene symbolizes how ‘Aema’ portrays real-life history, emphasizing historical accuracy but prioritizing its fictional characters and modern thematic concerns.

Is Aema based on a true story?

Although Aema draws heavily from the actual history of Korean cinema, it’s not a documentary or strict historical fiction. Instead, its narrative is rooted in the 1980s era for authenticity, while still allowing room for creative freedom beyond the constraints of historical accuracy, as explained by Lee during a press conference, as reported by The Korea Herald.

Using the figure of Aema, Lee narrates a tale that encapsulates the growing pains experienced by Korea during its transformation in the 1980s. As an icon representing the aspirations of the public during this period, Aema served as a powerful symbol. However, living as Aema during those times required confronting and persevering through deep-rooted prejudices and violent misconceptions. When Lee formulated this narrative, he envisioned it as a platform to amplify the resilience of individuals who embodied Aema’s essence during that transformative era.

As a cinephile, I find myself drawn more and more to spectacles of grandeur and splendor, yet the shimmering opulence only serves to highlight the stark contrast between extravagance and exploitation, between flashy displays of wealth during that so-called age of barbarism, and the suffering it was built upon. This dichotomy is what sparked the creation of Aema. In today’s world, where power imbalances continue to perpetuate injustice and foster an unsettling social order, the themes explored in Aema resonate deeply with audiences in Korea and beyond.

Currently, we’re narrating a tale from the 1980s starring Aema, but upon closer inspection, you’ll notice similarities to our modern world. Lee remarked that individuals like Joong-ho can be found even today, particularly within the film industry. He suggested they are people who believe, ‘As long as the business prospers, it doesn’t matter how things transpired – everything is pardoned.’

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2025-08-23 00:06