Director Na Hong-jin's new feature film 'Hope' has sparked sharply divided reactions, marking his first release in a decade since 'The Wailing.'
The film, which runs for 156 minutes, has been praised as a "must-see in theaters" for its relentless action and witty humor. Conversely, some viewers express frustration, claiming the narrative is disjointed and that the story does not conclude satisfactorily in one installment. The ongoing debate among critics and audiences highlights that the film's strengths and weaknesses stem from the same source.
For those still undecided about watching 'Hope,' we have compiled a list of its recommended and not recommended aspects.
▲ Experience the Scenes Rather Than Understand the Story
'Hope' is a film that pushes audiences through the power of its visuals. Na Hong-jin stated, "While 'The Wailing' conveyed its message through dialogue, 'Hope' aims to evoke feelings through action, visuals, and sound."
The film's strength lies not in anticipating what will happen next, but in how to navigate the current scene. Characters confront monstrous beings as they dart through the narrow alleys, homes, vehicles, and walls of Hopohang. As signs break and houses crumble, the village becomes a tool for battle. Characters hide between alleys, use buildings as shields, and drive vehicles to close in on the monsters.
This sense of immediacy peaks in a way reminiscent of first-person shooter games. The camera runs alongside the characters, hiding and changing direction, creating a feeling of being at the center of the action. Instead of explaining the situation with wide shots, the film follows the perspective of those caught in danger, immersing the audience in the tension.
For viewers familiar with Na Hong-jin's previous works, Hopohang offers additional enjoyment. The forest chase evokes the vast and ominous mountains of 'The Wailing,' while the alley scenes recall the urgency of Kim Yun-seok chasing Ha Jung-woo in 'The Chaser.' The scale of the monster traversing the village gives the impression of watching a live-action version of 'Attack on Titan.'
The film's ability to evoke different genre memories in various spaces is a definite highlight of 'Hope.'
▲ Unexpected Humor in Tense Moments
Another strength of 'Hope' is its ability to build tension to a peak and then deflate it with unexpected humor.
In typical action films, the moment a monster is defeated, the feeling of victory lingers. However, in 'Hope,' just as the characters are about to celebrate, Seong-gi (Jo In-sung) falls from a vehicle, bleeding and helpless. Just when the audience expects a sigh of relief, the film flips the scene with a shocking twist.
Bum-seok (Hwang Jung-min) exchanges banter with residents while pursuing the monster, and moments of friendly fire occur, or he finds himself slipping while being chased by the creature. Even in life-threatening chases, the characters' bodies do not cooperate as expected. Fear and humor collide on screen, with absurd accidents occurring at the most intense moments, deflating the heightened emotions.
A scene where Ha-seul (Lim Hyun-sik) recounts a past encounter with a monster serves as a litmus test for the film's appeal. His seemingly unrelated ramblings become increasingly ridiculous. If one accepts this as a 'brain-dead joke,' they can enjoy the film's rhythm, but for those hoping for a quicker narrative progression, it may feel unnecessarily drawn out.
▲ No Time to Be Bored in 156 Minutes
Despite its 2-hour and 36-minute runtime, the film rarely lingers in one place. The investigation into the village's anomalies transitions to a forest hunt, the monster movie shifts to a car chase and shootout, and the latter half expands into a cosmic-scale sci-fi narrative.
The music and sound continuously heighten the tension. Ominous sounds signal danger before characters move, and as the chase begins, the tempo and volume increase, propelling the scene forward. Even if viewers do not fully grasp the story's meaning, they can follow along through auditory and visual stimulation.
Thus, for audiences seeking to experience different stimuli in each scene rather than a neatly organized story, 'Hope' is worth recommending. This is especially true in larger theaters where the visual and auditory experience is amplified.
▲ Loose Storyline May Lead to Disappointment
The issue is that while each scene is strong, the narrative connecting them feels loose.
The events experienced by Bum-seok and Seong-ae (Jung Ho-yeon) in Hopohang and the residents hunting in the forest unfold separately for a long time. While both settings have individual tension, there is a sense of disconnection, as if two different films are being alternated.
Even when the two stories converge in the latter half, it does not naturally resolve everything that has occurred. The reasons for the alien's arrival on Earth, the meaning of their conversations, and how this incident fits into a larger context are not sufficiently explained.
Director Na Hong-jin revealed that he presented the aliens' dialogue without subtitles for a time, only revealing their meaning at the end to shift the audience's perspective. He aimed to make viewers, who initially viewed the aliens as threats, understand their circumstances later on.
However, audiences asked to shift their perspective in the latter half, without sufficient buildup of the alien family's relationships and circumstances, may first feel the absence of explanation rather than emotional engagement.
▲ Sequel Planned, But First Film Should Stand Alone
'Hope' is a film conceived with a sequel in mind. Director Na Hong-jin has already written a follow-up story centered on the alien characters in space.
However, the existence of a sequel does not justify the first film's lack of resolution. Even films dealing with a continuous universe should resolve at least minimal conflicts and questions within a single installment. Leaving clues for the next film is different from postponing the core explanations of the current film.
'Hope' leaves a strong impression of the latter. After watching 156 minutes, viewers may feel more like they have seen a long and grand prologue rather than a complete story. If one expected to enjoy the symbolism and meaning after the film, as with 'The Wailing,' it is essential to consider that the nature of ambiguity differs.
While the questions in 'The Wailing' revolved around how to interpret the clues presented in the film, many of the questions in 'Hope' arise from the film not providing sufficient information. The abundance of interpretive material and the withholding of explanations are not the same type of ambiguity.
▲ Questionable Use of Michael Fassbender
Audiences expecting a star-studded cast may feel disappointed. Michael Fassbender and Alicia Vikander, among other international actors, portray the aliens. However, their faces and bodies are obscured behind CG characters.
If one anticipated a performance style similar to Thanos in the 'Avengers' series, where the actor's facial expressions and emotions are vividly captured in the digital character, the difference is significant. 'Hope' focuses on maintaining the alien's otherness. Moments to appreciate Michael Fassbender's unique acting are limited, with only his calm gaze and tone remaining.
If the aliens had expressed emotions too humanly, it could have felt awkward. Nevertheless, it remains questionable whether the reason for casting a globally recognized actor is sufficiently evident within the film. For viewers who choose films based on the actor's name, the gap between expectations and actual utilization may feel substantial.
CGI also presents mixed reactions. In fast-paced action scenes with the monsters, the speed and camera movements can mask awkwardness. However, in scenes where the aliens are shown up close for extended periods, there may be an impression that the real space and digital characters do not fully blend. Although additional CGI enhancements were made before the domestic release after the Cannes screening, Director Na Hong-jin explained that the completion process took a long time.
▲ Direct Dialogue and Angry Characters
Some dialogue merely reiterates the situations shown in the film. A notable example is when Seong-ae exclaims, "No matter how monstrous it is, this is unacceptable." While this may intuitively reveal ethics to some, to others, it may sound like the character is suddenly reciting a stale message.
▲ Who Should Watch 'Hope'?
'Hope' may not present a well-structured narrative, but it offers a series of intense moments.
If you seek thrilling chases through the alleys of Hopohang and the forest, a balance of suspense and humor, action that makes you feel as if you are running alongside the characters, and the awe of a large screen and sound, there are ample reasons to watch it in theaters. The sheer scale and pace of the film are rare in recent Korean commercial cinema.
Conversely, if you prioritize narrative causality, character emotional arcs, the aliens' motives, and a conclusive ending within a single film, it may be wise to choose carefully. The more one expects the symbolism and interpretation found in 'The Wailing,' the greater the potential for disappointment.
Whether to watch 'Hope' is not a matter of distinguishing between a good and bad film. It depends on whether one views the film as a complete story or accepts it as a cinematic experience that unfolds over 156 minutes.
* This article has been translated by AI.
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