“Hope,” starring Hwang Jung-Min, Zo In-Sung, Hoyeon, Taylor Russell, Cameron Britton, Alicia Vikander, and Michael Fassbender, made $3.5M this weekend on 1500 screens. That’s fine. It’s grossed close to $40M in South Korea alone.
“Hope,” Na’s first film in ten years — his last one being the exemplary “The Wailing” —is a gloriously messy, blood-soaked sci-fi epic that may become a cult classic despite—or because of—its polarizing nature.
The film, which cost $33M to produce, is the most expensive film ever made in Korea. It was one of the most highly anticipated premieres of the 2026 Cannes Film Festival, where it competed for the Palme d’Or. Yes, the reviews were mixed, but I’m firmly on the pro side—I loved it. This is one of the most outrageous films to premiere at Cannes in years.
Set in the isolated town of Hope Harbor near the Korean Demilitarized Zone (DMZ), the story begins with a mysterious discovery and a seemingly routine police investigation before escalating into an increasingly bizarre sci-fi monster spectacle. The less viewers know going in, the better, because the film continually reinvents itself, transforming from a grounded thriller into an all-out creature feature packed with shocking twists.
“Hope” is defined by relentless, large-scale action rather than nuanced character development. Its nearly 160-minute runtime is dominated by extended set pieces, kinetic camerawork, graphic violence, and an intense orchestral score—it’s both an exhausting and exhilarating experience.
At Cannes, the crowd reacted with a mix of confusion, laughter, irritation, and admiration. I’m also not entirely sure why Fassbender, Vikander, and Russell decided to star in the film—they’re almost unrecognizable beneath heavy CGI and altered voices. Any other actors could have played these roles.
I gather “Hope” has now been seen by some of our readers. So what did you think? If you caught Na’s wild film this weekend, I want to hear where you landed. Is this a future cult object or an expensive misfire?
“Hope,” Na’s first film in ten years — his last one being the exemplary “The Wailing” —is a gloriously messy, blood-soaked sci-fi epic that may become a cult classic despite—or because of—its polarizing nature.