Post-credit scenes: results for “tag: democratization movement”

Image for A Taxi Driver (2017), a film with no post-credit data.

May, 1980. Man-seob is a taxi driver in Seoul who lives from hand to mouth, raising his young daughter alone. One day, he hears that there is a foreigner who will pay big money for a drive down to Gwangju city. Not knowing that he’s a German journalist with a hidden agenda, Man-seob takes the job.

Poster art for Peppermint Candy (2000), an open question on post-credit scenes.

In the spring of 1999, a group of old friends gather to celebrate their 20 year reunion. Among the group is Yeong-ho, a cold, unhappy man, whose demeanor puts a damper on the festivities. The seriousness of Yeong-ho's depression becomes apparent when he climbs a railroad bridge and looks like he might jump. At this crucial moment, memories of seven crucial episodes from Yeong-ho's past flood his mind.

Cover image for The Attorney (2013), not yet voted on.

Song Woo-seok is a lawyer with no clients. When his friend's son is falsely accused of a crime and tortured, he takes up the case and the course of his life changes for good.

Film artwork for May 18 (2007), no verdict on the credits.

The citizens of Gwangju lead a relatively peaceful life, until one day the military takes over the city, accusing the residents of conspiracy and claiming that they are communist sympathisers preparing a revolution against the current government. Seeing as the soldiers beat defenceless people, mainly students, to death, the citizens are in for retaliation and form a militia.

Poster for The President's Barber (2004). No votes yet on whether it has a post-credit scene.

A well-meaning but politically naive barber gets pulled into the inner circle of the South Korean dictator Park Chung-Hee, with rather baleful consequences for his hapless family. This sharp political satire covers roughly twenty years in South Korean political history, from the viewpoint of the barber's son.

Poster art for Excavator (2017), an open question on post-credit scenes.

20 years after discharge from the army and now an excavator driver, a former paratrooper who had been mobilized to suppress the May 18th Democratic Uprising in Korea in 1980, happens to find a skull in the ground one day. Driving his excavator, he pays visits to his former superiors one by one and realizes they were all both assailants and victims of the times.

Poster art for National Security (2012), an open question on post-credit scenes.

On September 4, 1984, democracy movement leader Kim Jong Tae is arrested and taken to an infamous interrogation facility in Namyeong-dong. For the next 22 days, he would be cruelly and continuously tortured in all manners by interrogators intent on forcing him to confess to communist collaboration.

Film poster, A Petal (1996). No post-credit verdict yet.

The story of a girl who experienced the Gwangju massacre at the age of 15, and its effect on her life in later years.

Kim Dae Jung Must Not Die (2024) poster image. Zero votes so far.

Kim Dae Jung, who stands next to people in the middle of caotic history! A young businessman Kim Dae Jung recognized the victims of ideology. He decided to be a politician to make his country where people's politic and democracy are rooted. The price of being leave from a guaranteed future and take the first step on a bumby road was kidnapping, death threats, imprisonment, and a death sentence that shook him to the core, but even in his final moments, when he was sentenced to death, Kim never wavered. "Democracy will be recovered. I believe in it." The life of President Kim Dae-jung, a death row inmate who survived from the throes of death, four parliamentary elections, and three unsuccessful presidential campaigns, is etched into the modern history of South Korea.

Movie poster for 1980: The Unforgettable Day (2024), waiting for its first vote.

There is HWAPYONG Restaurant with full of hopes of the family of three generations. Grandfather, the first-generation owner, and the first son, the second-generation owner, who lives as a fugitive after being branded as a communist and his wife and Cheol-soo’s mom who has to work hard by juggling work and family without complaint. The second son, Cheol-soo’s uncle, who sometimes acts like a child with an excuse of being the second son but loves Cheol-soo more than anyone and seriously cares about the restaurant. To the third generation, young Cheol-soo, family is the most precious. By the time when ‘Seoul Spring’ longing for democratization came to nothing due to ‘Retreat from Seoul Station’ in 1980, there were a series of peaceful protests in Gwangju, Jeolla Province. In warm May, a large dark cloud is looming over HWAPYONG Restaurant, the home and everything of this ordinary family of Cheol-soo, in the middle of Gwangju.

Movie art for Swallow (2023), post-credit scene unknown.

When his mother goes missing, Lee Ho-yeon sets out to search for her. In the course of that journey, he discovers his parents' pasts during the democracy protests of the 1980s when student activists rose up against the repressive Chun Doo-hwan regime. Reading a book written by his mother, Ho-yeon uncovers a story of hope, love and betrayal, and struggles to understand painful secrets that have been hidden away for thirty years.

Joshua: Teenager vs. Superpower (2017) poster. Still unanswered: is there a scene after the credits?

When the Chinese Communist Party backtracks on its promise of autonomy to Hong Kong, teenager Joshua Wong decides to save his city. Rallying thousands of kids to skip school and occupy the streets, Joshua becomes an unlikely leader in Hong Kong and one of China’s most notorious dissidents.

Kim-Gun (2019). Nobody has said whether there is anything after the credits.

KIM-GUN searches for the whereabouts of a young man whose identity has sparked a national controversy over the 1980 May 18 Gwangju Uprising. Starting with the vague memories of those who had crossed paths with him during that time, the film tracks down those who participated in the Uprising as “Citizen Soldiers.” It also traces KIM’s final steps, based on photographic clues found in the firearms he carried and the “Surveillance Truck No. 10” in which he rode. By identifying KIM-GUN, we believe that we can find valuable leads to resolving the ongoing controversy over May 18. Why did a nameless young man join the Uprising? Why did he take up arms? Where has he gone afterwards? It is the answers to these questions that the film seeks.

President (2019) artwork. Still a mystery after the credits.

This documentary celebrates the life of former President Kim Dae-joong, who fought for democracy in South Korea and peace in the Korean Peninsula. It marks the 10th anniversary of his passing and covers his challenging journey, from his childhood on an island to his imprisonment, exile, near-death experiences, and ultimately becoming the president.

Movie art for Scout (2007), post-credit scene unknown.

1980, Kwang-ju is fired up about a genius pitcher, a senior in high school. Ho-chang takes confident strides across the field making his way by cutting through the sand dust. He’s a university scouter on a mission. His task is to scout the genius pitcher, SUN Dong-yeul, a master of baseball who may be scouted to a rival university. But he is no where to be seen. But Ho-chang is determined to not let down his reputation as a successful scouter, and his scouting mission of 10 days begin! An original story of a scouter on a 10 day mission full of undisclosed history will now unfold!

Film poster, The March for the Lost (2018). No post-credit verdict yet.

This is the story of a father who died mysteriously in May of 1980, a mother who lives in the shadows with a bullet in her head and not being able to forget May 18th and their daughter, and the nation's greatest comedian, Hee-soo.

The Price of Democracy (2020) poster image. Zero votes so far.

The expressions of democratization are usually interpreted by elites from two different parties but neglect the real faces/ life of every individual among the resistance rally. The director (a confused twenty-something) looks back upon the 40-year-history of democratization of Taiwan through the life experiences of two old-timers (who are grass-root rebels). He attempts to discover what causes their actions and decisions to be lefties, and what are their limitations.

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