My Name
🎬 Film Overview
It is 1998, and the country is inching toward democracy. Young-ok (Shin Woo-bin) is an 18-year-old who hates his girlish name and just wants to fit in at a boys’ school ruled by bullies and compromised teachers. At home, his mother Jeong-sun (Yeom Hye-ran) hides behind a calm exterior. She has no memory of her life before the age of nine, and a past she never chose to face begins to resurface. The film cuts between that classroom and the Jeju 4·3 events of 1948 and 1949, a tragedy of state violence that Korean cinema has rarely been able to fund. Director Chung Ji-young said he used school bullying to show how violence spreads in groups, and the production was largely paid for by nearly 10,000 crowdfunding supporters. It premiered at the Berlin International Film Festival before opening in Korean cinemas on April 15, 2026.
⚡ Quick Verdict
Everything you need to decide, in one place.
▶ Official Trailer
🎭 Cast & Characters
Yeom Hye-ran leads a cast that moves between a 1998 classroom and Jeju in 1949.

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🍿 Where to Watch
Watch My Name on these platforms.
📖 The Story
No spoilers ahead — just enough to see if it fits your taste.
🏁 Ending Explained
The ending, explained in full. Spoilers ahead.
✍️ KDramaWorlds Editor’s Take
Is it worth your time? Here’s our honest take, and who it suits best.
The pitch sounds like two films stitched together, a teenager’s name complex and a historical atrocity, and that is exactly what the director set out to connect. Viewers who watched Pachinko follow a family through a century of upheaval will recognize the idea that private shame and national history are the same story told at different scales. Here the history is Jeju 4·3, and the way in is a mother who cannot remember her childhood.
Chung Ji-young has said he chose school bullying as a way to show how group violence works, and critics read Young-ok’s silence in front of a classroom tyrant as an echo of the helplessness his mother carries. If that setup appeals, the peer cruelty in The Glory is a more commercial cousin, though this film is quieter and far more concerned with memory. Yeom Hye-ran is the performance most reviews single out.
We are holding back a full verdict for now. Our coverage of the film’s final act and its 1949 sequences is still being confirmed across Korean and international reviews, and we only publish the story and ending sections once they hold up across several reliable sources. For now, treat this page as the setup, the cast and the case for watching.
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