Possible Love’s Final Trailer: Theater Dates and November 6 Netflix Release

The final trailer arrived before the November 6 global Netflix date

Netflix published the final-trailer announcement on October 20 and reiterated the film’s previously announced global streaming date. It arrived ahead of the October 23 theater openings in five markets, but did not add a country or change the schedule. Netflix’s final-trailer announcement

Netflix’s short synopsis describes two married couples: a laid-off worker and his wife, and a documentary filmmaker with her husband. The filmmaker sets out to film the other couple, bringing their different lives and hidden desires into contact. That is the premise Netflix chose to share with the trailer; the announcement does not reveal how the relationships turn out.

Netflix’s note says the final trailer opens with Mi-ok singing before she hints that Ho-seok has kept something from her through their years of hardship. It describes her crying in front of Ye-ji’s camera, a friendly exchange between the women and Ye-ji’s proposal for a shared vacation. The note also flags glimpses of Mi-ok and Ho-seok’s past. These are details the distributor chose to highlight on October 20, not a scene-by-scene account or a reveal of how the trip changes the couples. Netflix’s trailer update

The theatrical schedule differs by country

Netflix’s July date notice gives each announced cinema market its own start: South Korea on September 23, Australia on October 22, and the United States, Canada, the U.K., Ireland and Japan on October 23. The global Netflix date is November 6. The sequence means the same movie reaches cinemas at different points before its subscription release. Netflix’s date announcement

The listed openings sit 44 days before the global stream in Korea, 15 days before it in Australia and 14 days before it in the October 23 markets. Those are gaps between announced opening dates, not promises about how long a local theater will keep the film. Individual showtimes and end dates remain with each cinema.

The premise centers on two couples and a documentary project

The film’s two households are identified in Netflix’s final-trailer notice. Mi-ok (Jeon Do-yeon) is married to Ho-seok (Sul Kyung-gu); Ye-ji (Cho Yeo-jeong) and Sang-woo (Zo In-sung) are the documentary filmmaker and her husband. Netflix says Ye-ji wants to film the other couple, whose lives differ from her own. Lee Chang-dong directs; it is his first feature since Burning in 2018.

Netflix Tudum’s longer cast guide adds the encounter that brings the pairs together: a funeral puts Mi-ok and Ho-seok in Ye-ji and Sang-woo’s orbit. Ye-ji is making a film about laid-off workers, and Mi-ok agrees to be filmed. Tudum says the women grow closer and that Mi-ok also feels drawn to Sang-woo, whose affluent life contrasts with hers. These details come from Netflix’s official story guide, which gives more context than the final trailer without disclosing the ending. Netflix Tudum’s cast and story guide

One September review says Ho-seok is laid off and Mi-ok urges therapy; this is a critic’s character description, not evidence about actual workers. The Daily Beast review

During a September 21 Seoul press event, Korea.net reported Sul Kyung-gu describing Ho-seok as carrying shame, guilt and anger after his sense of self has been damaged. Jeon Do-yeon said she saw Mi-ok as trying to preserve her self-worth and family. Their remarks offer a glimpse of how the actors approached the couple’s contrast; they are performance comments, not evidence that the fictional pair represents a specific worker or household. Korea.net’s press-event report

The film reached streaming after a major festival run

Netflix says Possible Love was invited to the Competition at the 83rd Venice International Film Festival and Special Presentations at the 51st Toronto International Film Festival. At Venice’s September 12 awards ceremony, the jury, which viewed 21 competition films, gave the film the Silver Lion Grand Jury Prize. The separate Silver Lion for Best Director went to Ilya Khrzhanovsky for DAU. The official result lists the Korean title as Ga-neung-han Sa-rang. This is a Grand Jury award, not a Best Director prize.

The Venice program credits the screenplay to Lee Chang-dong and Oh Jung-mi, cinematography to Kim Ji-yong, editing to Kim Da-won, production design to Jang Min-woo and music to Jung Jaeil. It also names Yi Choong-yun for costumes; Lee Seung-chul and Han Myung-hwan for sound; and Hwang Hyun-kyu and Kim Jung-ja for makeup. Production is credited to Pinehouse Film, Anonymous Content and NOWFILM. These details identify the creative team behind the festival version. The official Venice program

Netflix’s August 26 update says South Korea chose the film as its submission for Best International Feature Film at the 99th Academy Awards. The notice also lists the New York Film Festival’s Main Slate, San Sebastián’s Zabaltegi-Tabakalera section, Zurich’s Gala and Vancouver’s Special Presentations, alongside Venice and Toronto. The list shows how widely the film traveled through the fall festival circuit; the awards record above identifies the Venice prize separately. Netflix’s official trailer and festival update

A cinema date and a platform date answer different questions

For a current cinema visit, use the theater’s own listing to confirm showtime and seat availability. Netflix’s announcement specifies opening dates and one global platform date; it does not state how long theaters will keep the film or give a separate digital-rental date.

Venice’s program lists 164 minutes, while the film tile in Netflix’s current Tudum guide shows 2 hours 47 minutes, or 167 minutes. Those metadata entries differ by three minutes. Neither page explains whether a different cut or another cataloging decision accounts for the gap, so this article does not turn either entry into a universal runtime. For a cinema visit, use that screening’s own listing when planning the trip home; previews and any interval can add time beyond the feature itself.

Lee Chang-dong links the story to labor and filmmaking ethics

Lee’s Venice director statement says the project took time because he wanted to understand what it meant to him, audiences and cinema. He connects its starting point to mass layoffs and a violent crackdown on a strike, then questions whether that history should become a narrative feature. The statement frames labor and capital as forces that shape lives while leaving room for people to seek freedom, a desire he links with love. This is the director’s stated intent, not a claim that the film documents individual workers. Lee’s statement in the Venice program

Lee links the project to the 2009 SsangYong Motors dispute and a 77-day strike after proposed layoffs. The Guardian interview

At a September 21 Seoul press event, Lee broadened that ethical concern to filmmaking itself. Korea.net reported him asking whether a director who depends on capital can love others without using their pain as material. Lee also said he felt relieved when he saw viewers engage with the film’s questions, and that those first reactions mattered more to him than the Venice trophy. These are Lee’s comments at that event, not a measure of audience response overall. Korea.net’s press-event report