A Korean-made animated Christian film, The King of Kings, has taken North America by storm. Premiering across 3,200 theaters in the United States and Canada on April 11, the film soared to second place at the U.S. box office within a day. According to Box Office Mojo, it earned over $7.01 million in ticket sales on its opening day and a total of $19.1 million in its debut week. This performance surpasses the 1998 launch of The Prince of Egypt, setting a new benchmark for animated biblical films.
A Milestone for Korean Animation
The King of Kings is produced by Korea’s Mofac Studios, a leading name in visual effects. The 101-minute film is a 3-D animated retelling of the life of Jesus. Its strong box office performance highlights growing global interest in faith-based entertainment and Korean storytelling.
The film received an “A+” grade from CinemaScore, a U.S. firm that measures audience satisfaction. Industry experts predict continued success, especially with Easter Sunday approaching on April 20.
All-Star Cast and Global Appeal
Directed, written, and produced by Mofac Studios CEO Jang Seong-ho, the film features an impressive English-language voice cast. Hollywood stars such as Kenneth Branagh, Uma Thurman, Mark Hamill, Pierce Brosnan, and Oscar Isaac lend their voices to key characters.
Cinematographer Kim Woo-hyung co-produced the film. His previous credits include acclaimed titles like Assassination (2015) and 1987 (2017). Though both Jang and Kim come from live-action backgrounds, their leap into animation has made headlines.
A Decade in the Making
In an interview with the JoongAng Ilbo, Jang revealed that the project took 10 years to develop. Initially titled The Life of Jesus during production, the film will be released in Korea this July under its current name, The King of Kings.
The film’s total production cost reached approximately 36 billion won ($27.9 million). While the base budget was 27 billion won, an additional 9 billion won was invested to bring the vision to life.
Inspired by Dickens, Aimed at Families
The story was loosely inspired by Charles Dickens’ The Life of Our Lord (1934), which the author wrote for his son. Jang explained that the film explores the life of Jesus through the eyes of a young boy named Walter, a fictional version of Dickens’ son. This approach makes the story relatable to a modern audience and introduces the biblical narrative in a fresh way.
“Everyone knows the story of Jesus,” said Jang. “I wanted to find a way to make it emotionally engaging and universally accessible.”
Advanced Technology Behind the Scenes
To produce the film, Mofac Studios built its own virtual production platform using Unreal Engine, a popular 3-D game engine. Actors performed scenes in motion-capture suits on a virtual set. These performances were then transformed into animations, allowing greater flexibility and efficiency.
Jang shared that animation work only began after all virtual production was complete. Because everything was digital, scenes could be reshot or re-edited without rescheduling actors or rebuilding sets. This innovation helped the studio manage time and costs more effectively.
Global Streaming Interest
With the film’s strong box office debut, streaming giants have taken notice. Netflix, Apple TV+, Amazon Prime Video, and Hulu have all expressed interest in acquiring the streaming rights. Jang said a decision would be made soon.
“Animation hasn’t really been a part of global K-content,” he said. “I’m proud that this film is changing that. I hope it opens the door for more Korean talent in animation to succeed globally.”
A Leap Forward for Korean Content
Despite minor critiques about character animation, many reviewers praised the film’s visuals, lighting, and spiritual message. Jang acknowledged the feedback, noting that the team delivered the best result possible within their budget and timeframe.
Securing Hollywood voice talent was another significant achievement. Jamie Thomason, a veteran casting director, helped assemble the cast. Thomason was so impressed with the script that he agreed to work for a fraction of his usual fee.
