Top 3 Must-Watch Movies in April 2026: From ‘살목지’ to ‘내 이름은’

The film The Man Who Lives with the King drew 15 million moviegoers and sparked a welcome spring surge at the box office. Beyond its mega-hit status, the film restored a simple pleasure: the joy of going to the theater. That revival has given the South Korean film industry a noticeable lift. Now the spotlight shifts to April’s slate of new releases. Before the box-office momentum fades, a diverse set of films—each with its own distinct appeal—are poised to carry the torch. From taut genre fare and sensory horror to heartrending human drama, April’s lineup looks set to keep audiences coming back.

First up to inherit the box-office baton was Endgame Investigation, which opened April 2. Director Park Cheol-hwan—known for his meticulous mise-en-scène and taut direction on the series Grid and Domination—makes his feature debut by amplifying dramatic realism with a story inspired by real events. The film follows Jaehyuk, once the ace of the regional investigation unit, who repeatedly faces unexpected setbacks on every case. After a cycle of promotions and demotions, he’s eventually exiled to a remote posting. The film tracks this unlucky veteran detective’s last shot at redemption.

Bae Sung-woo, who has delivered standout, scene-stealing turns in films from Veteran to The King, Ansi Fortress and 1947 Boston, anchors the movie with a lived-in performance that conveys Jaehyuk’s weary, tangled life. Jung Ga-ram—who gained a global following with Love Alarm and Understanding of Love—plays Jaehyuk’s partner Jungho. Jungho is a third-generation chaebol influencer: wealthy, handsome and sharp; he wins a bet with netizens, tops the police exam and shows up on his first day in a sports car. His clash with the gut-driven, luck-reliant Jaehyuk generates a crackling, opposites-attract tension.

That antagonistic chemistry—Jungho’s appetite for stylish policing versus Jaehyuk’s chronically tangled life—injects welcome levity into a genre that can easily turn heavy. A strong ensemble that includes Lee Som, Jo Han-chul and Yoon Kyung-ho adds depth, delivering twist after twist within a “one case, two suspects” framework.

The horror film Salmokji, which aims to redefine the genre’s conventions, opens April 8. The premise springs from a modern urban legend: a mysterious shape appears on a map service’s street-view image. When a film crew travels to the Salmokji reservoir for reshoots, they encounter a dark, aquatic presence and descend into a desperate battle for survival. Director Lee Sang-min—whose shorts Hamjinabi and Dollimgong drew festival attention—makes his solo feature debut, using the properties of water to craft uncanny audiovisual effects. Rippling, ominous scenes on the surface and impossible sounds from beneath the water tease the audience’s imagination and slowly pull viewers into the center of fear.

The cast is notable. Kim Hye-yoon, long touted as a “horror queen,” returns to the screen after four years as Su-in, conveying a visceral will to survive under crushing conditions. Lee Jong-won—one of 2026’s breakout talents, here in his first commercial lead—joins dependable actors Kim Jun-han, Kim Young-sung and Oh Dong-min, along with buzzy performers Yoon Jae-chan and Jang Da-a, raising the film’s tension. Salmokji also employs experimental techniques—360-degree panoramic cameras and motion detectors—that come into their own in ScreenX and 4DX auditoriums. The engulfing visuals and immersive sound aim to make audiences feel like members of the trapped crew, offering a theater-only brand of “immersive horror.”

Closing April’s slate is My Name Is, which opens April 15. Veteran director Jeong Ji-young, whose recent work screened in the Forum section at the Berlin International Film Festival to international acclaim, brings this ambitious film to domestic audiences. The story follows 18-year-old Young-ok, who wants to shed an embarrassing name, and his mother Jeong-sun, who has buried a 78-year-old secret tied to the painful history of Jeju in 1949. Set against the island’s tranquil scenery, the film excavates a sorrowful promise and weaves a poignant two-generation narrative that moves from deep wounds toward a luminous truth. Acclaimed actress Yeom Hye-ran plays Jeong-sun, delivering a searing, commanding turn.

The options don’t stop there. New releases that showcase actors’ fresh challenges and playful reinventions roll out throughout April. Among them are Nuruk, the directing debut of rising Chungmuro actor Jang Dong-yoon, and Jjanggu, directed by and starring Jung Woo—both projects by actor-turned-directors that promise fresh perspectives. A slate of comedies intended to lighten the mood is also on the way: Mismatch, pairing Oh Dae-hwan and Oh Yoon-ah, and Girl Trial, starring Chae Won-bin and Han Sun-hwa, should be reliable choices for audiences seeking a breezy night at the movies.

With genre diversity, strong performances and a master filmmaker’s gaze that confronts historical wounds, April’s lineup brings new energy to theaters along with the spring breeze. Industry observers will be watching to see whether the box-office spark lit by The Man Who Lives with the King can ignite a broader leap forward for Korean cinema through these April releases.