After the unsettling body horror of The Fifth Thoracic Vertebra, director Syeyoung Park returns with something even stranger — a dystopian sci-fi nightmare crawling out of a dying world.

His latest film, The Fin, plunges viewers into a near-future Korean peninsula left scarred after war and environmental collapse. In this fractured society, water is scarce, survival is brutal, and a mutated subspecies of mermen — known as Omegas — are cast out, feared, and hunted.

According to Variety, Kani Releasing has secured North American rights to the film, with plans for both theatrical and home video release in 2026.

At the center of the story is a dying Omega’s final request: find his daughter Mia, who has been hiding among humans, and ensure she inherits his fin through a sacred ritual. Running alongside this desperate mission is Sujin, a government worker played by Kim Pureum, whose loyalty to the system begins to crack as she tracks the Omega for reasons that may not be what they seem.

Park describes The Fin as a story about fear, identity, and the fragile line between myth and truth.

Set in a near-future Korea, the film doesn’t just explore monsters — it questions who gets labeled as one.

The director has hinted that the film will challenge audiences to rethink what defines “human” and “other,” blurring those lines until they become almost meaningless. It’s a theme that feels especially unsettling in a world already fractured by paranoia and division.

If Park’s previous work is any indication — a surreal, genre-bending descent into horror that rejected traditional storytelling — The Fin won’t follow familiar rules. Expect something eerie, symbolic, and deeply uncomfortable.

And in a world where even identity can mutate… the real horror might not be what lurks beneath the surface.