The South Korean filmmaker Na Hong-jin, known for his intense chase movies, delivers his most ambitious and expansive work to date with ‘Hope.’ This science fiction thriller, a sprawling creature feature, pushes the boundaries of scale and narrative, offering a wild ride that rarely pauses for breath. Despite its considerable length and grand scope, ‘Hope’ is a film that thrives on its relentless momentum and genre-bending audacity.
A Master of Breathless Spectacles
For two decades, Na Hong-jin has established himself as a filmmaker whose works are characterized by thrilling spectacles, often laced with pointed satire and a raw, human element. His directorial debut, ‘The Chaser’ (2008), a taut thriller about a pimp searching for a missing sex worker through the nocturnal streets of Seoul, immediately set a high bar. Subsequent films, such as ‘The Yellow Sea’ (2010), which followed a gambling-addicted taxi driver on the run, and ‘The Wailing’ (2016), a chilling investigation into a mysterious disease outbreak in rural Korea, showcased his growing mastery of expansive and extreme narratives. ‘Hope’ marks his first film in ten years, and its sheer magnitude is evident in the extensive two-year post-production period that preceded its premiere at the Cannes Film Festival.
Genre-Bending Narrative and Visuals
Clocking in at a substantial 156 minutes, ‘Hope’ is a film that hurtles through multiple genres with the energy of the Kool-Aid Man crashing through walls. While the journey is not always smooth, with some critics noting that the CGI may not be award-worthy and that the runtime occasionally saps momentum, the film is undeniably thrilling in its shape-shifting nature. It masterfully fuses the elements of a monster movie with science fiction, creating a blistering and often bonkers saga that explores themes of otherness, both human and otherwise.
Setting the Scene in Hope Harbor
The narrative unfolds in Hope Harbor, a town situated on the South Korean side of the Demilitarized Zone, where signs warning against infiltration are visible. The local police chief, Bum-seok (played by Hwang Jung-min), finds himself investigating a series of mysterious animal attacks. A group of hunters, led by Sung-ki (Zo In-Sung), initially suspect a tiger that has crossed over from North Korea. However, Bum-seok soon realizes he is on the trail of something far larger and more destructive. The initial hour of the film builds suspense as Bum-seok navigates the aftermath of these attacks, his dialogue peppered with expletives born of escalating trepidation. The reveal of the creature, an imposing alien that moves on two or four legs and was brought to life through motion capture by Cameron Britton, is met with a mix of awe and slight disappointment due to its somewhat schlocky design. Yet, a pivotal slow-motion close-up, where Bum-seok perceives what appears to be pain in the creature’s eyes, adds a layer of unexpected depth.
Authority Figures and a Newcomer’s Impact
Na Hong-jin’s films often portray authority figures as either incompetent or corrupt. In ‘Hope,’ they are largely depicted as bumbling and overwhelmed. Bum-seok, however, is a figure of action, though he is soon joined by a more dynamic presence: fellow officer Sung-ae (Hoyeon). Hoyeon, who gained international recognition for her role in ‘Squid Game,’ makes a striking big-screen debut, injecting elegance and efficiency into the chase sequences as she joins the fray, firing a weapon from a speeding squad car. Her arrival injects a fresh energy into the film.
Mischief and Human-Scaled Spectacle
Following the extensive chase sequences, Bum-seok and Sung-ae begin their investigation into the encountered entity. This section, while perhaps the film’s most leisurely, showcases Na’s mischievous directorial style. A particularly memorable scene involves the medical examination of the alien’s corpse, conducted with a chainsaw rather than sterile precision. Another highlights an eyewitness account from a terrified villager who, while hiding in the forest, experiences an unfortunate bout of diarrhea. These digressions, while seemingly farcical, underscore Na’s commitment to maintaining a human-scaled perspective, even amidst extreme science fiction scenarios. This unique sensibility, combined with the handsome cinematography by Hong Kyung-pyo (known for his work on ‘Parasite’ and ‘Burning’), makes ‘Hope’ a distinct and unpredictable cinematic experience, despite its familiar genre underpinnings.
Expanding Perspectives and a Grand Finale
The film further shifts focus to Sung-ki and the hunters as they continue their search in the woods, revealing more about the extraterrestrial visitors. In a remarkable display of narrative empathy, ‘Hope’ begins to adopt the perspective of the aliens themselves. The leading alien figures are portrayed by Hollywood actors Michael Fassbender, Alicia Vikander, and Taylor Russell, though their appearances are heavily obscured by CGI. As their dialogue eventually gains subtitles, the film’s empathy extends into the cosmos. Whether Na’s film, reportedly the most expensive Korean film ever produced, will receive a sequel remains uncertain. However, the current installment culminates in a grand, galloping finale. While ‘Hope’ can be considered cluttered for much of its runtime, with production designer Lee Hwok-young reveling in the debris of destruction, it ultimately clears the way for a sensational, open-road chase scene that stands as one of the year’s most exhilarating and ludicrous sequences. The film’s conclusion leaves audiences with a sense of anticipation, perhaps hoping for a continuation of this ambitious saga.
Rated R for strong bloody violent content and language throughout. In Korean with English subtitles. Running time: 156 minutes. This film is rated three stars out of four.
