

Pachinko is one of the most ambitious television dramas ever produced — a multigenerational epic based on Min Jin Lee's bestselling 2017 novel that spans nearly a century of Korean-Japanese history through the story of one family's survival, sacrifice, and resilience. The series opens in early twentieth-century Korea, where a young woman named Sunja makes a fateful decision that will reverberate through four generations of her family, eventually reaching a young Solomon (Jin Ha) navigating identity and belonging in 1980s Osaka and New York.
What makes Pachinko extraordinary is its ambition matched by its execution. Showrunner Soo Hugh and her team weave between three distinct time periods and three languages — Korean, Japanese, and English — with total command, finding the thread that connects the grandmother of 1915 to the grandson of 1989 not through plot mechanics but through a shared DNA of stubbornness and love. The performances throughout are exceptional, with Youn Yuh-jung (Oscar winner for Minari) delivering heartbreaking grace as the elder Sunja.
Pachinko is also a rare television drama that places the Korean-Japanese experience — one of the twentieth century's most overlooked stories of displacement and discrimination — at the absolute center of a major prestige production. It is sweeping in scale and intimate in feeling, and it stands as one of the defining works of international television storytelling.
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Undoubtfully, cinematography has been my passion since a very young age. Even now, watching a new movie or series always prompts me to ask a lot of questions to the author. Thus, every little essay about a title is definitely not a spoiler, but rather an attempt to explore the idea.
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