Famed for her chameleonic ability to play a diverse range of roles convincingly, and beloved for the nuanced emotions she brings to each character, it’s no surprise that South Korean actress Kim Go-eun has established herself as an A-list actress in both film and television. Since her acclaimed breakout role in A Muse (2012), Kim has favoured roles that resist easy definition—from psychological romantic drama series Yumi’s Cells (2021) to the award-winning horror thriller Little Women (2024). In this conversation, she reflects on the instinctive choices—of appearance and emotional tone—that shape how a character is seen and remembered.

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Your hair is quite long now. It almost feels like a return to your early debut days. 

Maybe it does, but I don’t attach much meaning to the length of my hair. Most of the time, I’m just wearing a hat anyway. If it’s long, it’s long. If it’s short, it’s short. For The Price of Confession (2025), Mo-eun’s buzz cut turned out to be the right choice. Some people had concerns it might make her seem too severe. But I thought that without hair covering her face, the audience would see her more clearly. I convinced the production team that it would better reveal the character. 

Is it interesting that audiences remember characters through something as simple as a hairstyle? 

It matters more than people might think. When viewers first encounter a character, the first thing they notice is the outward appearance. I always think about what kind of impression that character will leave. A hairstyle doesn’t define everything about a role, but it definitely shapes that first moment of recognition. 

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You wore the Chanel J12 with short hair. How did that feel?

The classic quality of the J12 is more flexible than people expect. It works in everyday moments as easily as in formal ones. Even when you’re not dressed up, it still carries a strong presence. So it fits any situation. Long hair, short hair, something casual, something dressy—it always feels right. 

What role does fashion play in your life? 

The characters I play change constantly, but my personal style in daily life is quite simple. I don’t think of fashion as some grand language. What matters to me is fit. Most of the clothes I wear are basic pieces. T-shirts, jeans, coats. They don’t shout for attention. But if something fits your body exactly right, it suddenly becomes special. If you look closely at why certain simple clothes look beautiful on someone, it usually comes down to the silhouette. And if you can add a small detail on top of that shape, even better. 

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After the intense character you played in The Price of Confession, fans will soon see the warm side of you again in Yumi’s Cells 3. Which emotional range is harder to act?

I wouldn’t say one is harder than the other. The fear is similar, but the nature of it is different. Yumi is an existing character, so the pressure of season three isn’t the same as creating someone entirely new. But as many actors say, portraying everyday life can be surprisingly difficult. When you play a very distinctive character, there is another concern. You wonder if the audience might feel that your choices are too unfamiliar or too distant. So there is always a balance between the fear of being too familiar and the fear of feeling too strange.

How did it feel stepping back into Yumi’s life again?

It was joyful, especially because I got to work with director Lee Sang-yeop again. In the first episodes, the original soundtrack from seasons one and two plays again. Hearing  those bright, familiar songs made me unexpectedly emotional. On set, people often called me Yumi instead of Go-eun. “Yumi is coming.” “Yumi, get ready.” “Yumi, let’s go.” There was a sense of comfort in that. Familiar staff, familiar jokes, the rhythm we had built together; it gave me a lot of stability.

Writer Jeong Seo-gyeong once said, during Little Women, that you could “express everything from the fragility of foam to the weight of a stone”. Do you ever feel tired of carrying those emotional extremes? 

I think every person contains both. There are moments when we are as light as dust, and there are parts of us that feel very heavy and difficult to reveal. When I act, I try to imagine the full spectrum of that person’s inner life. Everyone has their own lightness and their own weight.  

After an intense role, do you ever feel the urge to choose something lighter next? 

Sometimes. But I usually look at my own condition first; my physical state, or my emotional state. When projects come back-to-back, you can definitely feel the strain. That said, playing a quieter character is not necessarily easier than playing a dramatic one. For example, Yumi can actually be more physically demanding than Mo-eun because she carries so much of the story. In the end, the question is whether I feel able to take on the challenge at that moment, and whether I want to. 

People often remark on how grounded you seem. You appear to separate your life as an actor from your personal life very well. How do you stay steady? 

There’s a phrase I repeat to myself often: “This too shall pass.” Some days feel almost unbearably heavy. But then they pass as if nothing happened. Sometimes you wake up the next morning, and everything feels clearer. Occasionally, I even try to switch off my thinking altogether and just let things pass. If worrying about the future actually guarantees a certain outcome, then maybe I would worry more. But life doesn’t work that way. So for me, the important thing is simply getting through today well and living today well. 

You now have many younger actors looking up to you. What do they ask you about? 

All sorts of things. How to build a character. How to shape emotional arcs. How to act in a way that feels like natural conversation. Whenever I can, I try to answer honestly so that they can avoid some of the trial and errors I went through. I was lucky to have good seniors who guided me. 

Is there something you still want to ask your own seniors?

I’m curious about how they moved through this stage of their careers. These days, people often give me compliments or encouraging words. Of course, this is helpful. But sometimes honest feedback is even more valuable, because it helps you grow. I would like to ask them how to navigate this period well as an actor. 

You are now at a stage where audiences can easily imagine you playing very different roles. Was there ever a role you felt did not suit you but were tempted to try? 

If I feel that a character truly does not suit me, I usually step away from it. Sometimes another actor’s strengths will clearly bring a character to life better than mine. When that happens, I prefer to let it go. For instance, if I imagine a role that would be more compelling with a deep voice and strong charisma, and another actor embodies it better, I don’t hold on to it out of pride. But if I can imagine myself fully inside the character and feel confident that I can do it, then my attitude changes. At that point, I believe I will eventually find a way. 

What looks most beautiful to you right now? 

People who live their lives sincerely; not grand moments. Just ordinary scenes. A grandfather taking a slow walk for his health. Watching young people pass by and smiling. Life seems to move at a similar pace for everyone. Teenagers, people in their twenties and thirties, and those in their sixties and seventies. When I think about the people who have already passed through those stages, those who are living them now, and those who will experience them in the future, I realise that this moment in my own life is probably quite bright. Maybe we are all crossing each day with similar feelings. 

What do you hope for the rest of the year? 

Right now is a time for me to work hard. I just hope all the projects I’m scheduled to film go smoothly. So many people put their effort into them.

*This interview has been edited and condensed for clarity.

Photographer PARK JONG HA
Fashion Editor LEE HA YAN
Features Editor JEON HYE JIN
Fashion Stylist LEE YUN MI
Make-up Artist JO EUN JUNG
Hairstylist LEE IL JUNG
Manicurist IM MI SUNG
Set Stylist LEE DA YOUNG
Assistant Set Stylist SHIM JEE WON