For most international audiences, the name Lee Ji-eun might not ring a bell, but in South Korea, she is nothing short of a phenomenon. Known by her stage name IU, this 29-year-old singer-songwriter and actress has amassed a staggering 28 million followers on Instagram and is a dominant force in the K-pop industry. Now, with the release of Hirokazu Kore-eda’s Les Bonnes étoiles (released internationally as Broker), she is introduced to a global cinema audience in a role that has already earned critical praise.

IU’s transition from music to acting is not a sudden leap. She has been acting in television dramas and films for over a decade, but it is this film—Kore-eda’s first feature shot entirely in Korea—that has fully revealed her dramatic depth. In Les Bonnes étoiles, she plays So-young, a young single mother who leaves her newborn baby in a 'baby box' (a safe drop-off point for unwanted infants). The story follows the baby’s journey as it is taken by two men (played by Song Kang-ho and Gang Dong-won) who plan to sell it on the black market, and the complex moral dilemmas that unfold.

Kore-eda, renowned for his sensitive explorations of family and human connection (as in Shoplifters and After the Storm), discovered IU through her performance in the critically acclaimed Korean television series My Mister. In that drama, she played Lee Ji-an, a young office worker burdened by debt and family tragedy, delivering a performance that was both understated and heartbreaking. The director was immediately struck by her ability to convey deep emotion through subtle expressions. 'She hit the mark right away,' Kore-eda said in a making-of featurette. 'From the very first scene, her performance blew me away.'

For IU, the role of So-young was a formidable challenge. 'It was a challenge to portray So-young because she is a mother with such a dark and depressing past,' she told a Korean media outlet in May 2022 during the film’s Cannes Film Festival premiere. 'To be honest, I was overwhelmed by having to play a mother—something I have never personally experienced—and even more so a single mother.' To prepare, she immersed herself in the character’s psychology, studying the emotions of abandonment and regret. She noted, 'I wanted to express every nuance of her. I put myself in her skin throughout the entire shoot.'

The film premiered in competition at the 2022 Cannes Film Festival, where Song Kang-ho won the Best Actor award for his role as the brokering middleman. The film received a 13-minute standing ovation, and IU’s performance was singled out by many critics as a revelation. The Hollywood Reporter described her as 'a natural on screen, balancing vulnerability with a steely resolve.' Her scenes opposite Song Kang-ho are particularly charged, as the two characters form a fragile bond over the fate of the baby.

IU’s career began in the music industry at a very young age. Born in 1993 in Seoul, she trained under LOEN Entertainment and debuted as a solo singer in 2008 with her EP Lost and Found. Her breakthrough came with the 2010 single 'Good Day,' which featured her impressive three-octave range and became a chart-topping hit. Since then, she has released multiple successful albums, including Modern Times, Palette, and Lilac, consistently topping Korean music charts and earning numerous awards. Her songwriting is often introspective, blending pop, folk, and R&B influences. She is known for her unique voice and emotional delivery, which has garnered her a massive fan base both in Asia and worldwide.

In addition to her music, IU has built a solid acting career. She made her acting debut in the 2011 drama Dream High, playing a trainee K-pop idol. She went on to star in historical dramas like Moon Lovers: Scarlet Heart Ryeo (2016), which boosted her international recognition, and the modern tale My Mister (2018), which won her Best Actress at the Baeksang Arts Awards. Her film roles have been sparse until now, but Les Bonnes étoiles marks her most significant cinematic achievement. She even recorded a song for the film’s soundtrack, further blending her two artistic identities.

Director Hirokazu Kore-eda is known for his humanistic approach to storytelling. In Les Bonnes étoiles, he tackles the taboo subject of baby abandonment and illegal adoption with his trademark empathy. The film does not judge its characters; instead, it presents a moral gray area where every action is motivated by a complex mix of desperation and love. So-young, as the mother who gives up her child, could easily be villainized, but IU’s performance ensures that the audience understands her pain and sees her as a victim of circumstance. The film’s title, Les Bonnes étoiles (literally 'The Good Stars'), suggests a search for hope and redemption in a dark world.

The casting of IU alongside veteran actors like Song Kang-ho (known for Parasite) and Gang Dong-won (a top Korean star) speaks to her standing in the industry. The film also features Bae Doona, another actress with international fame (Cloud Atlas, Sense8), who plays a detective investigating the baby-selling ring. The ensemble works together seamlessly, with IU holding her own in every scene. One particularly powerful moment is a monologue where So-young breaks down in a car, revealing the trauma that led her to abandon her child—a scene that required multiple takes and left the crew in silence.

IU’s journey from K-pop sensation to respected actress mirrors that of other Asian entertainers like Rain or YoonA, but her path is unique in that she has managed to maintain high-level success in both fields simultaneously. She is often called the 'Queen of K-pop' by fans, yet she continues to take on challenging acting roles that push her beyond her comfort zone. Her social media presence is massive, but she uses it to connect with fans and share behind-the-scenes glimpses of her projects. For the release of Les Bonnes étoiles, Metropolitan Films tweeted about her global influence, noting her 28 million Instagram followers and her role as a 'global phenomenon.'

The film’s release in France on December 7, 2022, has been met with eager anticipation. French critics have praised Kore-eda's ability to transplant his style to a Korean setting while maintaining his signature warmth. Les Bonnes étoiles has been described as 'funny, melancholic, and heartbreaking' by Première magazine. For IU, this role opens doors to potential international projects. She has expressed interest in working with more directors outside of Korea, and her performance here proves she has the range to handle dramatic roles with depth.

In addition to her acting and singing, IU is also a songwriter and record producer. She has written many of her own hits and is known for her lyrical depth, often drawing from personal experiences. This creative control has set her apart in the K-pop industry, where many idols are managed strictly by agencies. She is also a philanthropist, regularly donating to charities and supporting education for underprivileged children. Her fan club, UAENA (a portmanteau of 'U' and 'Ae Na,' meaning 'love you' in Korean), is an active community that often engages in charitable works under her influence.

The success of Les Bonnes étoiles at Cannes and its positive reviews have cemented IU’s status as a multifaceted artist. Her ability to move seamlessly between the worlds of music and film is rare, and it speaks to her dedication and talent. As Kore-eda noted, 'She surprised me from the first scene. Her interpretation was astonishing.' With this film, IU has proven that she is more than a pop star—she is an actress of considerable skill, capable of carrying the emotional weight of a major international film. The future holds countless possibilities for this star, and audiences around the world are now watching her rise with great interest.

Source: Premiere.fr News