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This is a sociological and comparative approach of the cinematographic representations in Korea. The cinema in North Korea produces an “imaginaire” of the women which balance between neo-confucianist tradition and socialist ideology. Executives under the realm of the patriarchal tradition, the women in those images have an evolution which follows les slogans of the ideology, even if some variations shows them attracted by the West or more reluctant to admire the working Class mythology of the party. In South Korea, the representation makes women more psychological than ideological. A new “imaginaire” seems to grows in which women seems to go for more independence in a capitalist system which succeed to deal with the tradition. This new independence is made by adopting the bourgeois way of life or, rarely, adopting a proletarian life. Between the young girl and the married mother seems to appear a portrait, still more or less virtual, of a simple woman, without any clear functional role to keep, yet.