Dooho Choi

Dooho Choi’s kinda a big deal if you’re into wild, ambitious cinema. He’s got his name stamped on some seriously mind-bending stuff, like Snowpiercer (2013) and Okja (2017). Both films, honestly, are so much more than your average popcorn flicks—they’ve got this weird, electric energy that sticks with you. Snowpiercer throws you into a post-apocalyptic world where the last of humanity circles the globe on a train, everyone crammed into their own little class system. It’s claustrophobic and chaotic, with all these social issues bubbling up under the surface. You’re sweating right along with Chris Evans as he fights his way from the back of the train to the front, smashing through one crazy twist after another. It’s gritty, stylish, and honestly, kinda bonkers. Then you’ve got Okja, which is…well, weird in the best possible way. There’s this gentle giant of a super-pig (seriously) and a young girl who’ll do anything to save her friend from some shady, corporate types. The movie bounces from rural South Korea to the madness of New York City, showing you everything from family bonds to the dark side of food production. It’s part adventure, part fairy tale, part biting satire, and it’ll mess you up in the feels if you’re not careful. Choi’s fingerprints are all over these projects—big swings, big stakes, and this wild, creative spark that just won’t quit. There’s a reason people keep talking about the movies he touches.