With considerable international recognition, South Korean animated cinema is increasingly trying to distance itself from its traditional Japanese influences in order to mark a distinction through films aimed at adult audiences. Although its arrival in Spain was limited until 2010, festivals and digital platforms have become the perfect allies for its access. It is this cinema that is responsible for offering a critical view of its context, just as the New South Korean Cinema did in its time after its emergence at the end of the 1990s. This article analyses the animated films Seoul Station (Yeon Sang-ho, 2016) and Beauty Water (Cho Kyung-hun, 2020), which arrived in Spain through the Sitges Festival and the Filmin platform, respectively, and which offer a pessimistic vision of today's society by depicting the transmutation of the body. [ABSTRACT FROM AUTHOR]