A new animated film about the life of Jesus has made box office history in the United States — and it’s not from Hollywood.
The King of Kings, produced by Korea’s Mofac Studio and directed by CEO Jang Seong-ho, has earned $54.7 million since its April 11 U.S. release, officially overtaking Bong Joon-ho’s Parasite ($53.8 million) to become the highest-grossing Korean film ever at the U.S. box office.
The film traces the life of Christ — voiced by Oscar Isaac — from birth to resurrection. It’s based on The Life of Our Lord, a devotional book written by Charles Dickens for his children. The film also features the voices of Pierce Brosnan, Kenneth Branagh, Uma Thurman, and Forest Whitaker.
Distributed in the U.S. by Angel Studios, The King of Kings debuted at No. 2 with a $19 million opening weekend, setting a new record for the biggest opening of any faith-based animated film. It beat out DreamWorks’ The Prince of Egypt, which held the record for over two decades.
While the film’s success might appear to have come out of nowhere, Mofac Studio has deep roots in the entertainment industry — particularly in visual effects.
Founded in 1998 and based in Seoul, Mofac (short for “Motion + Factory”) began as a VFX company providing post-production services for Korean films, commercials, and global projects. Over the years, the studio gained a strong reputation for its technical work and artistry, contributing effects to a range of high-profile films including Snowpiercer, The Admiral: Roaring Currents, and Ashfall. Mofac was also involved in the 2014 Hollywood blockbuster The Maze Runner, offering VFX support.
For over two decades, Mofac operated mostly behind the scenes — rarely taking the lead on full productions. That changed with The King of Kings, its first major animated feature and its most ambitious creative project to date.
The film marks a shift for the company from post-production support to original content creation. In interviews, CEO and director Jang Seong-ho has spoken about his personal conviction to tell the story of Jesus in a fresh, accessible way for global audiences. He has also emphasized the studio’s commitment to visual storytelling that blends faith, art, and technical excellence.
The animation for The King of Kings was done entirely in-house at Mofac’s Seoul headquarters, using a blend of 3D character work and painterly backgrounds inspired by classical religious art. The film’s tone and style intentionally avoid the overly polished look of many modern animated movies, opting instead for something more grounded and emotive.
Mofac’s leap from VFX shop to box office record-breaker is part of a broader trend in Korean media. Following the global success of Parasite, Squid Game, and Extraordinary Attorney Woo, Korean creators are expanding beyond domestic audiences — and faith-based stories are now part of that wave.
What sets The King of Kings apart is that it’s not just a Korean film, but an explicitly Christian one. And yet, it’s connecting with diverse audiences across language and culture, in part due to its universal story and high production quality.
Angel Studios, known for distributing Sound of Freedom and The Chosen, helped bring the film to American theatres. Their existing audience base — largely made up of faith-driven viewers — played a key role in boosting early ticket sales.
Now, with international attention growing and releases in other countries underway, Mofac Studio is poised to become more than just a production house — it’s becoming a serious player in global storytelling.
