She has worked with Bong Joon-ho on Memories of Murder, The Host, Mother, with Kim Jee-woon on A Bittersweet Life, and Ryoo Seung-wan's No Blood No Tears, and with Park Chan-wook on Oldboy, I'm a Cyborg, But That's OK, Thirst, The Handmaiden, and Decision to Leave.
[14] At AFI, Ryu was mentored by Robert Boyle, the renowned art director of several Hitchcock films, including The Birds, North by Northwest, Marnie, Frenzy, and Shadow of a Doubt.
This led her to watch Asian action films, including Lee Myung-se's Nowhere to Hide, Takeshi Kitano's Sonatine, Ronny Yu's The Bride with White Hair.
[17] Through this film, she also discovered the work William Chang Suk-ping, a production designer who later shared Cannes Technical Grand Prize for In the Mood for Love with Christopher Doyle and Ping Bin Lee in 2000.
Even the actions of Lin Ching-hsia, who seemed somewhat crazy while holding a sword and performing dual roles, and the liquor called "chwi-saeng-mong-sa" that supposedly erases memories, touched her deeply.
Song's films were known for their poetic and conceptual nature, and the production of Flower Island aimed to capture the essence of the set without relying on extensive physical structures, requiring mental agility.
[15] Ryu's artistic vision was prominent in the film, particularly in the bathroom scene where she used wallpaper to create a worn-out appearance during the protagonist's birth, evoking a contrast between grandeur and the shabby, enclosed surroundings.
[14][24] Ryu shared that Bong Joon-ho earned the nickname "Bong-tail" due to his meticulous directing during the filming of *Memories of Murder*, a combination of his name and the word "detail."
[28] Geometric patterns play a vital role in the film's visual aesthetic, transitioning from the wallpaper in Oh Dae-su's Cell to Mi-do's dress and gift box, and finally to Lee Woo-jin's penthouse.
The segment features scenes with expressive phrases like "my stomach is rumbling," "as if the expiration date has passed," and "drawing blood with a syringe," portraying vampire habits and surreal depictions of their everyday life.
Released in 2006, this South Korean epic monster film features an ensemble cast including Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doona and Go Ah-sung.
Bong Joon-ho drew inspiration from a real-life scandal that occurred in the year 2000, involving an American man named Albert McFarland,[38] who instructed his Korean employees to improperly dispose of formaldehyde by pouring it down a drain,[39] which led to the contamination of the Han River.
In Thirst, Song Kang-ho takes on a romantic role that differs from his previous works, reflecting the character's strict Catholic upbringing and incorporating controversial scenes rooted in religious themes.
Director Bong provided a special directive to the hunting teams, urging them to find spaces that individually evoked specific emotions, but when put together, showed the identity and harmony of a village.
Following Director Kim Jee-woon's instructions to create a fateful encounter similar to western film, Ryu took inspiration from a stage photo of models walking in a fashion show.
Late Autumn is a co-production involving South Korea, China, and the United States, and it serves as the fourth adaptation of the 1966 Lee Man-hee melodrama classic of the same title, which is unfortunately now lost.
After previously collaborating on the melodrama Late Autumn, Ryu Seong-hui and Cinematographer Kim Woo-hyung joined forces again for Jang Hoon's war film The Front Line.
[62] When Ryu Seong-hui received the proposal and saw real aerial photographs depicting the aftermath of war on Aerok Hill, including areas that were won and lost, she was deeply moved.
[17] The Front Line strives to harmonize two contrasting perspectives: capturing the grim reality of the destructive effects of artillery shells; or finding a sense of appreciation when observing the war from a distance after it had ended.
The film showcases the fashion trends of the 1980s, featuring tailored suits, distinct hairstyles, wide collars, bell-bottom pants, and loose sweaters, bringing the autenthic appearance of ordinary people from that era.
Director Yoon had a proven track record with over 10 million viewers for his previous films, and the project they were working on had high production costs, which added to the burden on Ryu's shoulders.
Initially, the market primarily focused on everyday essentials like sausages and military uniforms, but as time passed, it started featuring imported canned goods and popular foods.
When you step inside the department store, the space is so overwhelmingly luxurious that you don't even dare to fight back.Actress Jeon Ji-hyun became fully immersed in the meticulously crafted set, forgetting that she was acting.
She is hired by a Korean swindler posing as a Japanese count Fujiwara (Ha Jung-woo) to work as a maid and help him deceive an affluent heiress named Hideko (Kim Min-hee).
They aimed to depict the space accurately for the time period, Ryu came up with the idea of a "Japanese garden inside the study" to convey a sense of discomfort and perversity in a dignified way.
The meticulous artistry by Production Designer Ryu Seong-hie, the deep-color costumes, and the stunning locations create an atmosphere that is hard to believe, especially considering it is the work of a rookie director."
[89][88] The film encompassed various settings, including the Goryeo period, the modern era, and even outer space, which led to the involvement of two esteemed art directors, Ryu Seong-hie and Lee Ha-jun.
Notable artistic elements include a window covered with tied trees, using silhouettes during sword fights, and highlighting the yellow earth during a procession involving undertakers and puppets.
Described as a fake romantic love motel, it depicted palm trees on the wallpaper with a fantasy-like but unattainable quality, transitioning from sunset to nighttime, evoking beauty and sadness.
[99] In November 2023, Ryu Seong-hie said that She started preparing a new drama by director Kim Won-seok of My Mister and writer Lim Sang-choon of When the Camellia Blooms, which is a story of three generations of women.