Lee Yeong-ih

Lee Yeong-ih’s been around the block—born in ’58, she’s carved out this wild, unpredictable career in Korean cinema. You might know her face from “Taeksi Woonjunsa” (2017)—that’s “A Taxi Driver” for folks outside Korea. It’s not just any movie; it’s one of those gut-punch films where you’re glued to the screen, watching history unfold. She doesn’t exactly play the lead, but honestly, she’s got this knack for making even small roles pop, you know? Something about her eyes, or maybe it’s that deadpan delivery. Whatever it is, you remember her. Flashing back a bit, she was in “Missing: Sarajin Yeoja” (2016). That one’s a straight-up mystery thriller with some real dark edges. The story dives into disappearance and obsession, and Lee Yeong-ih comes in with this quiet intensity. She’s not the type to chew scenery, but you can’t help but watch her. She brings in this older generation energy, kind of grounding the whole thing. And then there’s “Goongnyeo” (2007), also known as “Shadows in the Palace.” Think palace intrigue, old-school Joseon dynasty drama, murder, secrets—basically everything you want from a period piece. Lee Yeong-ih’s presence is subtle but sharp, like she knows way more than she lets on. She’s like a thread quietly tying the whole tapestry together. Honestly, she’s one of those actors you might not recognize right away, but once you catch her in a couple of movies, you start noticing her everywhere. She’s got range, grit, and this undeniable depth that sneaks up on you.