The Fin: Kani Releasing Drops New Trailer

A trailer ahead of select screenings

Kani Releasing’s new trailer for The Fin arrived November 10 ahead of the film’s limited theatrical rollout. The distributor lists Calgary’s Globe Cinema for November 18–22, New York’s Roxy Cinema from November 27 and Toronto’s Revue Cinema for December 1. Park Syeyoung’s film previously screened in Locarno’s Filmmakers of the Present section in 2025 and opened in South Korea on July 22, 2026. The bookings give viewers a local calendar to follow.

The distributor sets the story in a unified Korea after a war. Water is scarce, and a population with fins known as Omegas is exploited for work. A dying father asks an Omega played by Goh-woo to carry his fin to his daughter Mia, played by Yeon Yeji. The request makes a very large fictional world readable at the scale of one person’s errand. The character has somewhere to go and a reason to make the trip that would matter even if the audience were unfamiliar with the politics of the setting.

What a body lets you do

For a film about a society organised around visible physical differences, a handover is an unusually precise dramatic test. It makes viewers think about what can be carried through a space and who can cross it unnoticed. A checkpoint scene in a film like this could run on very little exposition. A doorway, a hand reaching to cover something, or the time it takes someone to decide whether to look away can give a rule immediate consequences. The shape of a body would affect blocking, distance and what another character is allowed to see, as well as the larger story about work.

The Doha Film Institute describes a young state worker who becomes suspicious while observing an Omega. That combination offers two ways to read the same movement. A person entrusted with a family obligation understands why it must go forward. A person approaching the situation through an official role might begin by sorting what she sees into categories. A pursuit becomes interesting when those categories fail under observation. If the camera follows both people, the film can reveal their assumptions by changing which details each one notices. A look at someone’s body can mean recognition, suspicion or responsibility depending on who is looking.

The specific object matters in another way. A family keepsake could usually be hidden in a pocket and described later. A fin belongs to the person who carried it, and it identifies the kind of body a society has learned to classify. Making it the object of the request gives the premise a way to place care and stigma in the same image. The handover’s emotional stakes can be established through how someone holds or protects the object before a word is said. That is a job for the image and the performance as much as for the dialogue.

An effects idea that also has to work at human scale

The Korean Film Council credits Park as director, screenwriter, cinematographer and an editor. Those four responsibilities point to distinct decisions that have to fit together. A script can put a revealing detail in a scene, while the camera chooses when the audience sees it and the edit chooses how long they have to think about it. In a story that depends on what people can identify about each other at a glance, the order of those decisions has consequences. The crucial information may be a reaction a character tries to suppress rather than a clear look at the feature that provoked it.

Science fiction often has to decide how much world a viewer needs before it can ask them to care. This release has a strong point of entry in the family task. It gives an audience something concrete to track while it learns which bodies can move freely and who is expected to make themselves invisible. The same task also gives the film a way to measure its world by everyday behaviour, such as how people address each other, who can offer help and who can leave a conversation safely. Those are small things for a trailer to promise and substantial things for a feature to make visible.