8일 하니 소속사 써브라임 측은 OSEN에 “하니가 KBS2 새 주말 드라마 ‘사랑이 온다’ 출연을 검토 중이다”라고 입장을 밝혔다.
‘사랑이 온다’는 때때로 내 일 내 가족 아니었음 좋겠고 확 내다 버리고 싶지만 그럼에도 가족인 이들의 이야기를 그린 드라마다. ‘상두야, 학교가자’, ‘미안하다, 사랑한다’, ‘세상 어디에도 없는 착한남자’ ‘함부로 애틋하게’ 등을 집필한 이경희 작가가 ‘초콜릿’ 이후 약 7년만에 선보이는 신작으로 주목받고 있다.
연출은 ‘여왕의 집’을 비롯해 ‘하나뿐인 내편’, ‘오! 삼광빌라!’, ‘미녀와 순정남’ 등 다수의 KBS 주말드라마를 연출했던 홍석구 PD가 의기투합 한다.
작중 하니는 시장 반찬가게 사장 한규림 역할을 제안받고 검토 중이다. 한규림은 누군가에게 안 좋은 일이 생기면 열 일 제쳐놓고 달려가 돕고, 좋은 일이면 자기 일처럼 좋아하고 축하해주는 오지라퍼에 팔랑귀 캐릭터다.
In Javanese culture, Sengkolo is a negative entity that often haunts humans, brings bad luck and brings disaster. On the first night of Suro, Sengkolo moved to target several weton who were his prey.
Through the eyes of a young girl uprooted from Yugoslavia to Denmark, we watch a family navigate a new world and rebuild their lives while holding on to what they left behind. Home speaks to belonging, sacrifice and the generations shaped by displacement. Maja is six years old when most of her family moves from the Yugoslav SFR to Denmark, leaving her two brothers behind for the time being, waiting to follow the rest to the promised land. Denmark proves to be far from the welcoming haven they imagined. There is a new language to learn, new customs to navigate, new skies to understand. Did they really want to stay? Maja grows up in Denmark, builds a life and a career there as an artist, yet she cannot forget all that her parents left behind. Actress-turned-director Marijana Janković was the same age as Maja when her own family left Ivangrad (today Berane) for the European north, and that is only the most superficial similarity between the two. As two of her leading men, fellow Ivangradian Dejan Čukić and Osijek’s one and only Zlatko Burić, will surely know, the details of Maja’s or Marijana’s story may be specific, but the larger flow of things has remained the same across generations and countries of origin.
A grandmother's life is upended when her husband leaves her after 33 years of marriage. She navigates this new chapter with the help of her family, grace, dignity, and jello salad.
The script centres on Marianne, the wife of a wealthy industrialist, envied and admired, model spouse and devoted housewife. She’s about to turn 40 and the comfort of the large family home has slowly closed its merciless trap on her. The prisoner of an inextricable network of social, family and marital obligations, accomplice of her own erasure, she has denied herself, without ...
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