Jeon Yeo-been: The Life Story Behind Korea's Bold Star
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There is a particular kind of actor who arrives late and then makes the lateness look like a plan. Jeon Yeo-been is one of them. She did not grow up on a film set, she did not win a child-star contest, and she did not walk into a big agency at eighteen with a contract already waiting. She wanted, for a long time, to be a doctor. Then a film she watched in a classroom made her change her mind, and she spent the next ten years learning how to act from the edges of the business: backstage, in the ticket office, in short films that played to small rooms, in bit parts where the camera barely noticed her. She told herself, by her own account, that if nothing changed by the time she turned twenty-nine, she would stop. Then, just before that deadline, a film called After My Death gave her the part she had been waiting for, and everything after that reads like a different life.
The woman who came out of that film is hard to pin down, and that is exactly what makes her interesting. In Vincenzo she is Hong Cha-young, a lawyer who can argue a room into silence and then smile as if nothing happened. In Be Melodramatic she is Lee Eun-jung, a documentary maker who talks to a boyfriend who is no longer alive, and who somehow makes grief feel funny and ordinary at the same time. In Night in Paradise she is a woman who knows she is dying, and who meets a man running for his life on the island of Jeju. In Glitch she chases a missing boyfriend and a story about UFOs. In A Time Called You she plays two women in two different years, and the audience has to work out which one is speaking. None of those parts look like each other, and none of them look like the easy choice. Jeon Yeo-been picks the difficult door, walks through it, and then picks another one.
What I want to do in this story is follow the long road that led to those parts, because the road itself explains the actress. It starts on the east coast of Korea, in a city where the sea is always close, it passes through a university musical in which she played a grandmother, it goes through theatre basements and film sets where she was paid to help other people shine, and it ends, for now, in some of the most watched Korean dramas in the world. It is a story about changing your mind, about waiting longer than most people would wait, and about what happens when a person who has learned patience finally gets a chance to use it.
The Girl in Gangneung Who Wanted to Be a Doctor
Jeon Yeo-been was born Jeon Bo-young on 26 July 1989, in Gangneung, a city on the east coast in Gangwon Province. Gangneung is known for its beaches, its pine trees, its coffee streets, and a slower rhythm than Seoul, and a childhood there would have been shaped by the sea and by the mountains behind the town. She went to school in Gangneung, and for years the plan in her head was a clear one: she wanted to become a doctor. Medicine is a respected path in Korea, and a bright student from a good school would have had every reason to aim for it. It meant long study, hard exams, and a steady life, and it meant helping people in a way that everyone around her could understand.
Then the plan broke. She did not get into the university she had aimed for, and that failure, which must have felt enormous at the time, forced her to ask a question she had never asked before: what else could she do with her life? The answer came from an unexpected place. She watched the film Dead Poets Society, the story of a teacher who tells his students to seize the day, and something in that film shifted her thinking. She began to look at filmmaking, at the idea of telling stories for a living, and she began to wonder whether the life she had planned was the life she actually wanted. A film changing a life sounds like a story from a film, but it happens more often than people admit, and in her case the change was real and lasting.
She had to persuade her family, and that took time. For a month, by one account, she argued her case at home, asking for permission to attend an acting academy in Seoul. A month of arguing is a long time in a family, and it tells us something about both sides: her parents were worried, as parents are, and she was determined, as a young person with a new idea often is. In the end, she went to Seoul and enrolled at Dongduk Women’s University, in the Department of Broadcasting and Entertainment. That was not a small step. It meant leaving Gangneung, living in the capital, and starting again in a field where she had no connections and no guarantee of work.
At university, in 2009, she took part in a college musical called Lunatic, and she played a grandmother with dementia. That is a strange first role for a twenty-year-old, and it is worth pausing on, because it tells us what kind of actress she was becoming. She did not ask for the pretty part, or the young part, or the part that would make the audience fall in love with her. She took a part that asked her to be old, confused, and afraid, and she has said that she regards it as her debut, and that it mattered a great deal to her. A young actor who starts by playing a grandmother is telling you something about her priorities. She cared about the character, not about how she looked, and that priority has stayed with her through every part she has played since.
Working Backstage While Waiting
After university, Jeon Yeo-been did something that many young actors would find humiliating, and she did it without complaint. She went to work behind the scenes in Daehangno, the theatre district of Seoul, as a staff member for musicals and stage productions. She worked as an assistant director, she worked as a ticket agent, she did the jobs that keep a show running while the actors take the applause. That is a hard place to be when you want to act yourself, because you are close enough to smell the stage and far enough away to know you are not on it. But it is also a good education, and she seems to have treated it as one. She learned how a production is put together, how a director thinks, how a show survives when things go wrong, and how an audience reacts from the other side of the curtain.
At the same time, she kept appearing in independent films, in small parts that paid little and reached few people. She was working steadily, in the sense that she was always doing something, but she was still largely unknown, and the gap between working and being known can feel very wide. It is one thing to act in a short film that plays at a small festival. It is another thing to have a casting director remember your name. For years, Jeon Yeo-been lived in that gap, and she must have wondered, more than once, whether the gap would ever close.
Then a piece of luck arrived, and it arrived in a way that only happens in the film world. The actress Moon So-ri, a respected figure in Korean cinema, saw Jeon Yeo-been in a trailer for the Seoul International Women’s Film Festival, and she contacted her to appear in a short film she was directing, called The Running Actress. A trailer is a tiny thing, a few seconds of film, and for it to change a life seems almost unfair, as if the whole business runs on accidents. But accidents only help people who are ready for them, and Jeon Yeo-been was ready. She had spent years learning the craft from the backstage and from small parts, and when a respected director called, she could do the work.
Another piece of luck followed, and this one came from her own family. Her older brother, a photographer who supported her career, took a profile picture of her and put it on social media. A film executive happened to see the photograph, and it led to an audition, and that audition led to her commercial film debut in the period drama The Treacherous in 2015, in a small part as a woman with a queen’s fate. A photograph on social media leading to a film role sounds like a modern fairy tale, and in a way it is, but it also shows how much of an actor’s early career depends on being seen by the right person at the right moment. She had done the work. She needed someone to notice, and her brother helped make that happen.
In 2015, she also walked into the production company of director Jang Jin, Film Issuda, and said, in effect, that if he needed an actress, he should think of her. That takes a particular kind of nerve, to walk into a director’s office and offer yourself for work, and it is worth remembering that she had already worked on the staff of one of Jang Jin’s plays for about six months, so the people in the office knew her face. He cast her in his television film The Sea We Wished For, also in 2015. That is how a career is built when you have no agency pushing you: one conversation at a time, one small job at a time, one person remembering your name at a time.
Young-hee and the Last Chance
The autumn of 2016 brought the audition that changed everything. Director Kim Ui-seok was casting After My Death, a film about a young woman named Young-hee who becomes the prime suspect when her friend Kyung-min, played by Jeon So-nee, goes missing and is thought to have taken her own life. Young-hee is accused, bullied, and left without support, and she tries to find the truth about what happened to her friend. The part asked for an actress who could play fear, anger, and sadness at the same time, and who could make the audience care about a character who is not easy to like. Jeon Yeo-been auditioned, and she won the part. Filming took place in the winter of that year, in the cold, and the film would not reach cinemas until much later.
The timing mattered, because Jeon Yeo-been had set herself a deadline. She had planned to retire from acting if she had not found success by the age of twenty-nine, and After My Death felt, to her, like a last chance. That is a heavy way to go into a film, and it explains the intensity of her performance. She was not just playing Young-hee. She was playing for her own future, and she knew it. When an actor puts that much of herself into a part, the audience can feel it, even if they do not know the story behind it. There is a difference between acting a feeling and living it, and in After My Death, she seems to have lived it.
The film premiered at the 22nd Busan International Film Festival in October 2017, and Jeon Yeo-been won the Actress of the Year Award there. That is a major prize at Korea’s biggest film festival, and it changed her life overnight, or at least it changed how the industry saw her. She also won the Independent Star Award at the Seoul Independent Film Festival, and a newcomer prize at the Marie Claire Film Festival in 2018. When the film was released in cinemas in September 2018, she won more newcomer honours, including a prize at the Grand Bell Awards and a prize at the Buil Film Awards. A young woman who had been ready to quit was suddenly being talked about as one of the most promising actresses in the country.
Before the Busan premiere, her work was already drawing attention. The independent film Write or Dance came out in theatres in August 2017, and she joined the television series Save Me, on OCN, playing Hong So-rin, a reporter for a local newspaper who bravely goes inside a religious cult to find the truth. That part, in a drama starring Ok Taec-yeon and Seo Yea-ji, showed that she could work on television as well as in film, and that she could play a brave, stubborn woman who does not back down. Her earlier short film The Best Director was also re-released as part of Moon So-ri’s anthology The Running Actress in September 2017, which brought her work to a wider audience. In a single year, she had gone from unknown to unavoidable, and the change must have felt both wonderful and strange.
A Lawyer with a Sharp Tongue
In 2019, Jeon Yeo-been took her first main television lead role, in the romantic comedy Be Melodramatic on JTBC, directed by Lee Byeong-heon. She played Lee Eun-jung, a documentary director who runs a one-person production company, and who is still grieving for her boyfriend, who has died. Eun-jung talks to him in her imagination, and the drama treats that grief with a mixture of humour and sadness that is hard to get right. The series had low ratings when it aired, from August to September 2019, but it found a devoted audience afterwards, and it is now remembered as a cult favourite. That is a common pattern with brave television: the people who watch it at the time are few, and the people who love it later are many. Eun-jung is a good example of the kind of character Jeon Yeo-been likes to play: a woman who is carrying something heavy, and who keeps working anyway.
In 2020, she was cast in Night in Paradise, a film by Park Hoon-jung, the same director who had made The Witch with Kim Da-mi. The film premiered at the Venice International Film Festival in September 2020, in the out-of-competition section, and because of the COVID-19 pandemic it did not get a normal cinema release. It came out on Netflix in April 2021 instead. Jeon Yeo-been played Kim Jae-yeon, a woman living in Jeju who is terminally ill, and who meets Tae-goo, played by Uhm Tae-goo, a man running from a gang. It is a dark, violent, sad film, and her performance in it was praised for its calm and its honesty. She did not play the illness as a tragedy to be cried over. She played it as a fact of life, and that made the character feel real.
Then came the part that made her famous around the world. In August 2020, she was confirmed for Vincenzo, a drama on tvN that aired from February to May 2021, starring Song Joong-ki as Vincenzo Cassano, a Korean-Italian mafia lawyer who returns to Korea. Jeon Yeo-been played Hong Cha-young, a lawyer at a large firm, the daughter of a lawyer, a woman who is clever, ambitious, and willing to fight dirty when the case demands it. Cha-young is funny, fierce, and completely sure of herself, and she became one of the most loved characters in Korean drama that year. One critic described her style as a devil’s tongue and a witch’s tenacity, and that description has stuck, because it captures the way she speaks: fast, sharp, and impossible to ignore. The drama was a hit in Korea and on Netflix, and it made Jeon Yeo-been a star in many countries where her name had never been heard before.
Vincenzo also reunited her with Ok Taec-yeon, who had been her co-star in Save Me, and it showed that she could hold her own next to one of the biggest stars in Korea. Song Joong-ki is a huge name, and a drama built around him could easily have swallowed a co-star whole. Jeon Yeo-been did not let that happen. She made Cha-young the equal of Vincenzo, not his sidekick, and the audience loved her for it. That equality is hard to play, because it means never stepping back, never making yourself small, and never letting the other actor take the scene by default. She never stepped back, and the drama is better for it.
Time Travel, UFOs, and a Nun
After Vincenzo, Jeon Yeo-been could have stayed in the same kind of role, playing sharp lawyers and clever women in big dramas, and nobody would have blamed her. Instead, she went in the opposite direction, towards the strange and the difficult. In March 2021, she was cast in Glitch, a Netflix series directed by Roh Deok, in which she played Hong Ji-hyo, a woman searching for her missing boyfriend, Lee Si-kook, played by Lee Dong-hwi. As she searches, she meets a community of UFO watchers, led by Heo Bo-ra, played by Nana, and the story becomes a mystery about what is real and what is imagined. The series came out on Netflix in October 2022, and it was a very different kind of work from Vincenzo: quieter, stranger, and more interested in questions than in answers. Ji-hyo is not a lawyer with a sharp tongue. She is a woman who does not know what she believes, and who keeps looking anyway.
Her next film was Cobweb, directed by Kim Jee-woon, which premiered in the non-competitive section at the Cannes Film Festival in 2023 and was released in Korean cinemas in September 2023. She played Shin Mi-do, the head of finance at a film production company, in a story about a director trying to finish a film in the 1970s. It is a film about film-making, about money, about ego, and about the chaos of a set, and her performance won her the Best Supporting Actress prize at the Blue Dragon Film Awards in 2023. That prize matters, because it showed that she could be brilliant in a supporting part, not only as a lead, and that she was willing to take a part that served the story rather than serving herself.
Then came A Time Called You, a Netflix time-travel mystery romance that came out in September 2023, based on a Taiwanese series called Someday or One Day. Jeon Yeo-been played two roles: Han Jun-hee, a woman mourning her boyfriend, who has died, and Kwon Min-ju, a schoolgirl in the past whose body Jun-hee ends up in after travelling back in time. Playing two people in the same story is a test of an actor’s range, because the audience has to be able to tell them apart without being told, and they have to believe that both of them are real. She played them with different walks, different voices, and different ways of looking at the world, and the series found a large audience around the world, especially among viewers who love time-travel stories.
In 2025, her work continued to move in new directions. She starred in Dark Nuns, a film in which she played Sister Michaela, and she led two television dramas: Our Movie, in which she played Lee Da-eum, and Ms. Incognito, in which she played two identities, Kim Young-ran and Bu Se-mi. She also appeared in Harbin in 2024, playing Gong Boo-in. The range of that list is striking: a nun, a woman in a film about movies, a woman living two lives, and a historical film. It is the filmography of an actress who does not want to be put in a box, and who will keep choosing the difficult door as long as directors keep opening it for her.
What a Late Start Gives You
Jeon Yeo-been is now in her mid-thirties, and she has been acting for about a decade, which is a short time compared to many stars who started as children. But the lateness of her start is not a weakness. It is the reason her work feels the way it does. She spent years backstage, she spent years in small films, she spent years wondering whether she should quit, and all of that time taught her something that a child star cannot learn: how to wait, how to watch, how to work without applause, and how to be ready when the chance finally comes. That is why her performances feel grounded, even when the story is wild. She has lived the waiting, so she can play the waiting.
She is also known for a direct, honest style of acting, for speaking clearly, for holding herself with confidence, and for never overdoing a moment. That style was already visible in her early short films, and it has become her trademark. Directors trust her with difficult roles because they know she will not make the role about herself. She will make the role about the character, and she will do the work, and she will go home. That is a rare kind of trust in an industry that often rewards the loudest voice in the room. Jeon Yeo-been has built her career on the opposite idea: that the quietest, most honest voice in the room is the one worth listening to.
My Take:
I want to start with the deadline, because it is the part of Jeon Yeo-been’s story that stays with me longest. She told herself that if nothing changed by twenty-nine, she would stop acting. I have never set myself a deadline like that, and I am not sure I would have the courage to, because a deadline like that is a kind of promise you make to yourself when you are tired, and it is also a kind of threat. It says: I will give this everything I have, and if it does not work, I will walk away and do something else with my life. I think about how close she came to that line. After My Death was filmed in the winter of 2016, when she was twenty-seven, and it did not premiere until October 2017, when she was twenty-eight. That is a long time to wait for a film to be seen, and a long time to wonder whether the thing you bet your future on was worth the bet. I am glad she did not have to find out what quitting would have felt like, but I am also glad she set the deadline, because it tells me she was honest with herself. She was not going to wait forever, and she was not going to pretend that waiting was the same as succeeding.
The other part of her story that I keep turning over in my mind is the change from medicine to film. She wanted to be a doctor, and then she watched Dead Poets Society, and then she wanted to make films. That sounds, when you write it down in one sentence, like a small thing, like a teenager changing her mind after a movie. But it is not a small thing at all. A doctor is a safe, respected, understandable life, and a filmmaker is an uncertain, badly paid, easily misunderstood life, and the distance between those two lives is enormous. I think about the month she spent persuading her family, and I think about what that month must have felt like, because a month of arguing at home is not a fun month. It is a month of long silences at dinner, of worried faces, of the same conversation happening again and again. She won that argument, and she went to Seoul, and she started again, and I think that takes a kind of courage that is easy to miss when you only look at the awards she won later. The awards are the end of the story. The argument at home is the beginning, and the beginning is the hard part.
I also think a lot about the years she spent backstage, selling tickets and helping directors, and I want to say something honest about how I feel about that work. Most of us would find it painful to stand that close to the thing we want and not be allowed to touch it. Imagine working in a theatre, hearing the applause every night, knowing the lines, knowing you could do the part, and then going home to a small room and waiting for a phone call that does not come. That is a hard life, and it would be easy to become bitter, or to decide that the people on stage are lucky and you are not, and to stop trying. Jeon Yeo-been did not become bitter, or if she did, she did not let it show in her work. She learned how a show is put together, she learned how a director thinks, she learned what an audience wants, and when her chance came, she was ready in a way that a person who had only ever acted could never be. I think there is a lesson there for anyone who is stuck in a job that is not the job they want. The job you have now is teaching you something, even if you cannot see what it is yet, and the day will come when that lesson matters.
What I love most about her acting, and what I think about when I watch her characters in my mind, is the way she refuses to make a character easy to like. Young-hee is not a hero. She is a girl who is accused of something terrible, and she is angry, and she is afraid, and she makes mistakes. Cha-young is not a kind lawyer. She is sharp, she is ruthless, she will do what it takes to win, and she enjoys winning. Eun-jung is not a cheerful widow. She is a woman who talks to a dead man, and who is stuck, and who does not know how to move forward. A lot of actors would soften those characters, would make them nicer, would give the audience a reason to love them in the first five minutes. Jeon Yeo-been does not do that. She lets the character be difficult, and she trusts the audience to stay with her, and the audience does stay, because a difficult character who feels real is more interesting than a nice character who feels fake. I think that is a brave choice, and I think it is a choice that comes from confidence. She does not need the audience to love her. She needs the audience to believe her, and belief is a stronger thing than love.
I want to be honest about something else, too, which is that I find her taste in projects a little bit frightening, in a good way. Glitch is about UFOs. A Time Called You is about travelling back in time and waking up in someone else’s body. Night in Paradise is about a dying woman and a man running from a gang. Cobweb is about a film director in the 1970s trying to finish a movie that keeps falling apart. None of those are safe projects. They are the kind of projects that can fail, and that can make an actor look foolish if they do not work. She takes them anyway, and she takes them one after another, and I think that tells me something about how she sees her job. She does not see her job as staying famous. She sees her job as finding interesting work, and if the work is interesting, the fame will take care of itself. That is a risky way to live, and it is also a free way to live, because it means you are never trapped by your own success.
There is a sadness in her story, too, and I do not want to skip past it. The sadness is in the years of being unknown, in the small parts, in the bit part in The Treacherous where the camera barely noticed her, in the independent films that played to small rooms, in the feeling that she was doing everything right and still not being seen. I think most people know that feeling, even if they have never acted. It is the feeling of sending out applications and hearing nothing, of doing good work that nobody notices, of watching other people get the chance you wanted. Jeon Yeo-been lived with that feeling for years, and she kept going, and I think the reason she kept going was not that she was sure she would succeed. I think she kept going because she had already given up the safe life, the doctor’s life, and she had nothing to go back to. When you have burned the bridge behind you, you have to keep walking forward, and that can be a terrible feeling, and it can also be a powerful one.
If I compare her to other actresses I have read about, the thing that stands out is not her talent, although her talent is obvious. It is her patience. She waited longer than most people would wait, she learned more than most people would learn while waiting, and when the chance came, she did not waste it. I think about the photograph her brother took, the one that led to an audition, and I think about how small that moment was. A brother, a camera, a picture on social media, a stranger who happened to see it. That is not a plan. That is luck, and luck is not something you can control. But she was ready for the luck when it came, and readiness is something you can control. That is the part of her story I want to remember, because it is the part I can use in my own life. I cannot control when luck comes. I can control whether I am ready when it does.
I also want to say something about Gangneung, because I think the place she came from matters. Gangneung is a coastal city, a place of sea and pine trees and slow mornings, and it is a long way, in feeling if not in distance, from the noise of Seoul. I think that slowness stayed with her, and I think it shows in her acting. She does not rush a scene. She does not fill a silence because she is afraid of it. She lets a moment breathe, the way the sea lets a wave breathe before the next one comes. That is a quality that a big city does not teach you. A big city teaches you to hurry, to compete, to shout. A coastal city teaches you to wait for the tide, and Jeon Yeo-been waited for her tide for a long time, and when it came, she was ready to swim.
For a reader who feels late, who feels that everyone else started earlier, who feels that the deadline is coming and nothing has happened yet, I think Jeon Yeo-been’s story is the one to hold on to. She started late, she changed her mind late, she got her big chance late, and she is still, in her mid-thirties, choosing the strange project over the safe one. Late is not the same as lost. Late can mean that you have lived a little, that you have learned a little, that you know what you want and what you do not want. She knew what she wanted by the time she got it, and that is why she has not wasted it. I hope she keeps taking the difficult door, I hope she keeps playing the character who is hard to like, and I hope that the next time someone tells her a project is too strange, she says yes anyway, because the strange projects are the ones we remember.
I want to add something about the people who helped her, because a story like this can make it look as if she did everything alone, and she did not. Her brother took the photograph that led to an audition. Moon So-ri saw a trailer and made a phone call. Jang Jin gave her a part after she walked into his office and asked for work. A director at Busan gave her a prize that changed how the industry saw her. None of those people did her work for her, and none of them could have, because the work on screen is hers alone. But each of them opened a door, and she walked through it, and I think that matters, because it reminds us that a career is not only about talent and patience. It is also about the people who notice you, who remember you, who recommend you, who take a chance on you. If you are a young person starting out, the lesson is not only to work hard. It is also to be kind to the people you work with, to be reliable, to be the person a director wants to call again, because the next door may be opened by someone you met years ago, in a theatre basement, or on a small film set, or in a university musical where you played a grandmother.
There is also something I want to say about Vincenzo and about what fame did to her, because fame is a strange thing when it comes late. She was thirty-one when Vincenzo aired, and she had already spent years being unknown, and she had already decided, more than once, that she might quit. When the fame came, it came all at once, in many countries, on Netflix, in headlines, in fan messages, in offers for new work. A younger star might have been overwhelmed by that, or might have believed that the fame would last forever, or might have started to choose projects by how famous they would make her. Jeon Yeo-been did not do that. She went from Vincenzo to Glitch, a strange story about UFOs, and then to Cobweb, a film about film-making in the 1970s, and then to a time-travel drama, and then to a film about nuns. That is not the path of a person chasing fame. That is the path of a person who knows that fame is a side effect, not a goal, and who has already learned, from years of waiting, that the work is the only thing you can control. I think that is a wise way to live, and I think it is a way of living that comes from having waited a long time.
I will end with the image of her in the musical Lunatic, playing a grandmother with dementia, at twenty years old, in front of a university audience. That image is a good picture of everything she has become, because it shows a young woman who was not afraid to look old, to look confused, to look afraid, to look like someone other than herself. Most twenty-year-olds want to look beautiful, and to be loved, and to be the centre of attention. She wanted to be a grandmother, and to be believed, and to do the work well. She has been doing that ever since, in every part, in every genre, in every language of acting she has learned. I hope she keeps doing it, and I hope the next generation of actors watches her and learns that the best way to be seen is to forget about being seen, and to care only about the character in front of you.
Frequently Asked Questions
Why did Jeon Yeo-been first want to become a doctor?
She planned a medical career during her school years in Gangneung, and medicine was the path she aimed for before she changed direction. When she did not gain admission to the university she had hoped for, she began to think about other work. Watching the film Dead Poets Society helped push her towards filmmaking and acting instead.
Which film made Jeon Yeo-been think about filmmaking?
The film was Dead Poets Society, which she watched during her school years. It tells the story of a teacher who urges his students to seize the day, and it influenced her decision to move away from medicine. She then spent a month persuading her family to let her attend an acting academy in Seoul.
How did Moon So-ri help Jeon Yeo-been’s early career?
Moon So-ri saw Jeon Yeo-been in a trailer for the Seoul International Women’s Film Festival and contacted her to appear in a short film she directed, called The Running Actress. That call came while Jeon Yeo-been was still largely unknown. The short film later became part of an anthology feature released in 2017.
What did Jeon Yeo-been say was her last chance in acting?
She had planned to retire from acting if she had not found success by the age of twenty-nine, and she saw After My Death as her last chance. She auditioned for the film in the autumn of 2016 and filmed it that winter. The film premiered at the Busan International Film Festival in October 2017, where she won the Actress of the Year Award.
Who is Hong Cha-young, and why did viewers remember her?
Hong Cha-young is the lawyer Jeon Yeo-been played in Vincenzo, which aired on tvN from February to May 2021. Cha-young is clever, ambitious, and sharp-tongued, and she works with Vincenzo Cassano, played by Song Joong-ki. One critic described her style as a devil’s tongue and a witch’s tenacity, and viewers remembered her because she stood as Vincenzo’s equal.
How many roles does Jeon Yeo-been play in A Time Called You?
She plays two roles in the Netflix series, which was released in September 2023. One is Han Jun-hee, a woman mourning her boyfriend, and the other is Kwon Min-ju, a schoolgirl in the past. The story is based on the Taiwanese series Someday or One Day, and it follows Jun-hee as she travels back in time.
What award did Jeon Yeo-been win for Cobweb?
She won the Best Supporting Actress prize at the Blue Dragon Film Awards in 2023 for playing Shin Mi-do in Cobweb. The film, directed by Kim Jee-woon, premiered at the Cannes Film Festival earlier that year. Shin Mi-do is the head of finance at a film production company in a story set in the 1970s.
