This article is by Kim Ji-ye and read by an artificial voice. When Korean filmmaker Park Chan-wook was appointed as the President of the Jury for the feature films competition section of the Cannes Film Festival last month, some might have wondered why. Although Park has long been considered a Cannes favorite, even sometimes called "Cannes Park" for winning the Grand Prix in 2004 for "Oldboy" (2003), the Jury Prize for "Thirst" (2009) and Best Director for "Decision to Leave" (2022), the 62-year-old director has never nabbed the Palme d'Or, the festival's top prize, which his peer Bong Joon-ho achieved with "Parasite" (2019). Now, as the jury president, Park is to oversee the deliberation process to select the winners from the films in competition, including the festival's top honor, the Palme d'Or, alongside eight other jury members. This year's jury members have yet to be announced, as the panel is newly appointed each year. Park will also announce and present this year's Palme d'Or at the closing ceremony. "Park Chan-wook's inventiveness, visual mastery and penchant for capturing the multiple impulses of women and men with strange destinies have given contemporary cinema some truly memorable moments," said festival president Iris Knobloch and director Thierry Frémaux in a press statement announcing the appointment. "We are delighted to celebrate his immense talent and, more broadly, the cinema of a country deeply engaged with the questioning of our time." Yet the decision still invites questions: Why Park, why now and does this signal another step forward for Korean cinema? While both Park and Bong are widely regarded as auteurs, Park's works, especially his "Vengeance Trilogy" — "Sympathy for Mr. Vengeance" (2002), "Oldboy" and "Sympathy for Lady Vengeance" (2005) — gained early and significant recognition in France, where the festival is based, following his first major accolade at the festival. The film's Grand Prix win in 2004 was also the first time a Korean film received a major award at the festival, marking a turning point in introducing Korean cinema to global audiences, as well as Park's works. French magazine Télérama even wrote that the trilogy "exported Korean cinema beyond its borders." In the years that followed, Park developed a cult audience in France for his distinctive cinematic style and was frequently described within French cinephile circles as an auteur marked by stylistic intensity. Reflecting its enduring popularity, the trilogy was rereleased in French theaters in 2024. Park also served as a jury member at the 2017 Cannes Film Festival, presided over by Pedro Almodóvar. By contrast, Bong Joon-ho — while equally regarded as an influential filmmaker and widely acclaimed by critics — has pursued a more active trajectory in Hollywood. His films tend to be more accessible to broader audiences, blending genre entertainment with sharp social satire. He has collaborated with major international studios, including Warner Bros. and Netflix, on English-language productions such as "Okja" (2017) and "Mickey 17" (2025). As such, this foundation, along with Park's longstanding relationship with the festival, may have led to Park's appointment, critics say. "The Cannes Film Festival is, after all, a festival held in France, and no matter how fairly it tries to judge, the perspectives of the French film community are likely to be reflected to some extent," pop culture critic Sung Sang-min said. "It's not that Bong's work hasn't been well received, but Park's 'Vengeance Trilogy' drew significant attention in France, even in a time when Korean cinema, more broadly Asian cinema, had far less global recognition." "I do believe that the festival may have been more inclined to appoint a director who had, in many ways, left a strong impression on the French film scene." Sustaining a high level of artistic achievement and public recognition over time is also no easy task for a director. And Park is regarded as a figu...