Director Na Hong-jin's new film has always sparked anticipation and tension. Known for twisting familiar genre paths in films like 'The Chaser,' 'The Wailing,' and 'The Strangers,' he returns with 'Hope,' his first feature in ten years.
"I first thought, 'This is good enough to be a draft,' back in 2018. I started preparing then. However, there were many processes involved. There was so much to study and prepare. The story needed to be further detailed and deepened. The most important question was how to make the film. There were many elements to consider, from how to shoot to post-production and whether we had the right equipment. That preparation took a lot of time," he said.
'Hope' begins with reports of a tiger sighting near Hopo Port, close to the Demilitarized Zone. The film, which has a production budget of around 70 billion won, has garnered attention as one of the most anticipated Korean films of 2026, having been invited to compete at the 79th Cannes Film Festival. After its premiere at Cannes, some edits were made for the domestic release.
"There were shots of a character named Yang-bae (played by Um Mun-seok) that I had removed, but I felt regret about it. So, I restored and enhanced those shots related to that character. However, that made the film longer. We decided to cut a few scenes that weren't essential," he explained.
Despite these changes, 'Hope' has a lengthy runtime of 2 hours and 40 minutes. Na emphasized that his focus was on ensuring the audience could immerse themselves in the film rather than just endure the time.
"I aimed to make that time not feel difficult or painful. However, I didn't want to compromise the story or the film. I thought a lot about how to make the audience feel comfortable and engaged during that time," he said.
The significant budget also brought pressure. Given the current downturn in the Korean film industry, Na recognized that focusing solely on the domestic market might not be sufficient. He considered genre expansion and the global market.
"That thought was definitely there. I had a feeling that a tremendous change was coming to the market when I started this project. My previous works also reflected this, and one of the characteristics of Korean cinema is its ability to blend various genres within a single film. Foreign journalists often comment on how well Korean films mix different genres. I thought I needed to create a film that leaned more towards genre, as the era of making films solely for the domestic market might be over. I realized that if we don't generate revenue from outside, it could become difficult, so I focused on that and aimed to elevate the film's quality. It's concerning. It might seem reckless, but I believe it's a safer path," he said.
The design of the aliens, a crucial aspect of the film, was also a product of extensive time and effort. Na started with familiar alien imagery but continuously modified the design through discussions with professionals who have worked on various creature designs in Hollywood.
"Initially, I thought about introducing traditional designs of aliens that you see in tabloids, where it's hard to tell if they are real or fake. That was my starting point. However, while working with foreign collaborators, I received a lot of insights. I learned about how aliens are portrayed in current films and whether to stick with my original ideas or change them. I received many explanations and advice about the script, and I kept experiencing changes based on suggestions for certain scenes or situations," he said.
Even after the design was finalized, challenges remained. It was crucial to determine how the creatures would appear and move within the scenes, alongside the actors and the pace of the action.
"When I thought the design was finalized, changes occurred during the preparation for shooting and post-production. Just because the design was in the film doesn't mean it would be clearly visible. If the creatures move dynamically in daylight, motion blur is inevitable. The creatures had to be composited accordingly, which meant that some shots where the design was clearly visible ended up being cut. From the beginning to this point, it took an absurd amount of time, and we experienced changes every day to get here," he said.
The inspiration for 'Hope' came from a memory of an unfamiliar village encountered during a trip long ago. Na noted that he recorded the strange fear and tension he felt in a small foreign town in his notebook, which became the foundation for the film.
"About 15 years ago, I traveled abroad and drove around for a while. On my way home, I stopped in a small town that felt very strange. There was no one in sight. Each house had totem-like objects, and even in broad daylight, it was eerie. I remember being there for a short time and writing about 20 to 30 pages in my notebook. I think those notes might be the beginning of this film," he said.
The actors' performances left a lasting impression on Na. He noted that the actors went beyond mere agreement to the project and undertook the necessary training and preparation for their roles.
"The actors agreed to all of this, which made it possible. However, I think it was more than just agreement. To achieve this level of coordination, a lot of preparation is needed. For any action to happen continuously, at least 50 or more people need to coordinate precisely. The actors had to work hard to achieve that coordination. If they needed to ride horses, they had to become familiar with them and learn horseback riding. They put in a tremendous amount of effort," he said.
There were also moments when scenes expected to be handled with CGI were performed directly by the actors. Na described this as a "miracle."
"There were quite a few moments on set that everyone thought would be resolved with CGI. However, there were scenes that no one expected would be completed with the actors performing. But the actors managed to pull it off miraculously. Actions like getting off a horse and moving their legs are not something an average person can do. Yet they did it. There were also scenes where they had to drive a car while acting and filming. I was grateful to everyone," he said.
Known for his attention to detail, Na acknowledged that having no compromises on set is impossible. He emphasized that the key is not to avoid compromise but to prepare multiple alternatives and make the best choice for the situation.
"It's impossible to have no compromises on set. It comes down to how many simulations you have done and how many alternatives you have prepared. How much you have prepared is also important. I'm not the type to push through at all costs. If something doesn't work, I think about how to express that scene differently," he said.
As his films are released, audiences expect intense experiences. Na is aware of this expectation and feels the pressure when presenting his work.
"That pressure is natural. I tend to be a cautious person, and I genuinely consider each audience member. When I watch a film by a specific filmmaker, I feel a different kind of tension before it starts. I hope the audience watches my film with that same level of anticipation, and I strive to create that experience. I have no choice but to give my best. I think, 'What else can I do but give my all?'
Regarding the expectations surrounding 'Hope' amid the crisis in the Korean film industry, he responded cautiously. While one film cannot save the entire industry, he hopes it can assist in guiding audiences back to theaters.
"It's burdensome. However, the focus shifts a bit. It's not just about this film; it's about the audience. This film can play a supportive role, but the key lies with the audience. It's important how much effort they put into visiting theaters and how much they cherish and understand the film. It's burdensome, but I will do my best," he concluded.
* This article has been translated by AI.
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