Director Na Hong-jin has returned with "Hope," a science fiction blockbuster that has become the biggest film in South Korea this year, marking his first directorial effort in a decade since "The Wailing." The film's opening weekend admissions accounted for 66% of all movie ticket sales in the country, a remarkable feat even with the anticipation of major Hollywood releases.
Despite its domestic success, "Hope" is set to have a significant international presence. Distributor Neon announced a US release in 1,500 theaters, a number not seen for a South Korean film since Bong Joon-ho's "Parasite." The film is also being shown on premium formats like 4DX, with many showings already sold out in major cities. On its opening day in the US, "Hope" grossed over $1 million.
"Hope" stars Hwang Jung-min as a small-town police chief, Jung Ho-yeon from "Squid Game" as a rookie cop, and Zo In-sung as a local resident. The narrative centers on aliens arriving in Hope Harbor, a small town situated near the Demilitarized Zone between North and South Korea. The film's structure is characterized by a rapid pace and continuous climaxes, exploring the locals' reactions to the extraterrestrial visitors. Its tone blends serious drama with dark humor, drawing comparisons to films like Jordan Peele's "Nope" and Zack Cregger's "Barbarian." The film has also garnered attention for its liberal use of expletives, with director Na confirming the Korean word for "fuck" appears 137 times.
The film's journey to theatrical release has been noteworthy. It premiered in competition at the Cannes Film Festival, where Na Hong-jin has a history of screening his work. While "Hope" did not win any major awards, its inclusion as an action blockbuster among more traditional dramas was seen as a significant moment. Initial reactions to early clips online were highly enthusiastic.
However, reviews from Cannes proved divisive. While some critics, like Siddhant Adlakha, praised the film as a "gonzo sensory assault" and a "nonstop blast," others, such as Indiewire, criticized the CGI aliens, deeming them some of the "worst creature effects." This strong reception, whether positive or negative, contributed to the film's buzz at the festival.
Na Hong-jin has frequently addressed the controversy surrounding the aliens' visual effects. The creatures were brought to life using a unique motion-capture process with human actors, including Michael Fassbender and Alicia Vikander, whose performances were rendered in real time. Na explained that the creature designs underwent extensive changes over six months, resulting in "fucked up" and injured-looking beings that he felt were unlike anything seen before. This intentional off-putting nature was part of Na's vision, particularly in depicting the creatures fighting in broad daylight with no shadows to conceal their appearance, even as they faced defeat.
Following its Cannes debut, "Hope" was featured at the New York Asian Film Festival and later presented at San Diego Comic-Con. In the interim, Na revisited the film in post-production, re-editing scenes and refining the sound, though the alien designs remained largely unchanged from the Cannes cut. He described the experience of presenting at Comic-Con as being in a "very different space from traditional film festivals" and expressed his belief that fandom-centered audiences would resonate strongly with his work.
Na's filmography, which includes "The Chaser," "The Yellow Sea," and "The Wailing," is known for its genre sensibility that bridges arthouse aspirations with grindhouse pleasures. "Hope" continues this trend by exploring violent human folly and suggesting a kinship between humans and the aliens, who Na described as "pitiful creatures" despite their initial aggression, serving as a central metaphor for the film's narrative.