It has been almost five years since South Korean filmmaker-writer Bong Joon-Ho’s big win at the Academy Awards for Parasite (2019). He returns with the sci-fi film, Mickey 17, featuring Robert Pattinson. Being a foreign film, one might have expected the Central Board of Film Certification (CBFC) to make massive cuts. However, the film passed without any. Reason: the studio pre-edited the movie to cater to Indian audiences. In India, Mickey 17 will run four minutes shorter than the original. The studio’s decision to self-censor was a strategic move to ensure the film’s release in India at any cost.

The pre-emptive edit reflects a growing trend among studios releasing films in India, where audience sensibilities sometimes clash with global content standards. A source close to the CBFC noted, “The studio’s careful approach reflects a keen understanding of the Indian market and the challenges of catering to a diverse audience.”

A studio insider elaborated, “We wanted to ensure that Mickey 17 reaches the broadest possible audience in India. The cultural norms differ from other markets. We avoided delays and ensured that the film’s essence remains intact while respecting local sensitivities. Bong Joon Ho’s storytelling is so layered that these edits do not impact the overall narrative.” 

Mickey 17, based on Edward Ashton’s novel Mickey7, follows the story of a disposable worker on an ice planet, tasked with life-threatening missions. In the story, one version of Mickey ends up having sex with another—essentially a threesome with his girlfriend. She grabs their faces and exclaims, “This is so exciting.”

Sources believe the full scene has been removed from the film’s India cut. Other edits and disclaimers have been added. The detailed modifications of Mickey 17 will be seen only upon its release in March.

Celebrated filmmaker Yeon Sang-ho admits he knows little about India. As Peninsula, the sequel to his much-acclaimed Train To Busan (2016), gears up for a November 27 release in India, he is eager to see how the audience receives the apocalyptic horror film. "I had no idea that my films had a huge fan base in India. As I've only lived in South Korea, I have not [gauged] the interest [my movies] elicit abroad. I'm aware that the Indian film and animation industry are huge," says Sang-ho, speaking from Seoul.

With the world coming to a standstill due to the Coronavirus pandemic, the makers had a tough time planning the film's theatrical release. While the horror thriller hit screens in South Korea on July 15, it sought a date with the US audience a month later on August 21. "The hardest part was determining how and when to release the film so that the audience could go to theatres safely. The footfall had plummeted, and theatres were closed internationally. As one of the few films that released during the pandemic, Peninsula had satisfactory [box-office] results. People around the world were rooting for it, and that collective support showed in its success."

With Parasite (2019) sweeping the top honours at the Academy Awards earlier this year, auteur Bong Joon-ho's words — "Once you overcome the one-inch-tall barrier of subtitles, you'll be introduced to many more amazing films" — have sparked a widespread interest in South Korean movies. Quiz Sang-ho whether he feels the pressure to perform, and he says, "There is no pressure at all. I am grateful to Parasite for drawing positive attention towards Korean films. I am working hard to create films that match the expectations."