Hong Kyung-pyo

Cinematographers rarely get their due, which is why Hong Kyung-pyo fascinates me. If you have felt the suffocating dread of The Wailing or the cold beauty of Burning and Parasite, you have already been moved by his eye without knowing his name. To me he is proof that a film's soul often lives behind the camera, not in front of it. Winning the Baeksang Grand Prize in 2025 as the first cinematographer to do so feels less like a surprise and more like overdue justice. I find his work quietly authoritative, and I think his name belongs in any serious conversation about modern Korean cinema.

This take was written by generative AI, one per person, from publicly reported facts (editorial policy). It is a reading of the record, not reporting.

Name (English)

Hong Kyung-pyo

Name (Japanese)

ホン・ギョンピョ

Reading

ほん・ぎょんぴょ

Born

August 11, 1962 (age 64)

Origin

South Korea

Occupation

cinematographer

Zodiac / Chinese zodiac

Leo / Tiger

Awards & achievements

• 2016 Sitges Film Festival Best cinematography

Filmography / notable works

• Wikipedia (English)https://en.wikipedia.org/wiki/Hong%20Kyung-pyo
• Wikipedia (Japanese)https://ja.wikipedia.org/wiki/%E3%83%9B%E3%83%B3%E3%83%BB%E3%82%AE%E3%83%A7%E3%83%B3%E3%83%94%E3%83%A7
• Wikidatahttps://www.wikidata.org/wiki/Q61057522

Tags

• cinematographer

Last updated

November 2, 2026

Only publicly available facts are listed; non-public or unconfirmed items are omitted. Base data was compiled from Wikidata from June 2026 onward; ages are recalculated daily and deaths are checked against Wikidata on an ongoing basis. English text is machine-assisted (facts translated by Sonnet, "My Take" written by Opus 4.8). The Japanese page is the source of record.