• Selena Gomez, Cate Blanchett, and Michael Fassbender have been cast in Brady Corbet’s next film
• The project, reportedly titled The Origin of the World, has been described by Corbet as “X-rated” and “genre-defying”
• The film spans 150 years, from the 19th century to the present, with its story anchored in the 1970s
• Corbet is working from a 200-page script with a projected four-hour runtime, shooting this summer in Portugal and South Africa
• The casting marks another major step in Gomez’s ongoing transformation from Disney star to serious dramatic actress

Selena Gomez is heading somewhere bold — and she’s got some serious company. The singer and actress has joined Cate Blanchett and Michael Fassbender in an untitled new film from The Brutalist director Brady Corbet, a project already generating real heat out of Cannes. The film is reportedly being called The Origin of the World, though nothing official has been confirmed on that front yet.

The news first broke when Blanchett let slip her involvement during a masterclass appearance at the Cannes Film Festival, mentioning the Corbet collaboration before trade publications could confirm it. Variety subsequently locked in the full cast — Blanchett, Fassbender, and Gomez — while reports of Gomez’s casting had already circulated earlier through The InSneider.

So what exactly is this movie? Corbet has been deliberately cagey, but he’s shared enough to make it clear this isn’t going to be a conventional Hollywood release. Speaking with The Hollywood Reporter, he described it as “X-rated” and explicitly centered on the body — but was quick to shut down speculation that it’s a horror film. “All I can say about the new film is that there’s been a lot of misinformation,” he said. “It’s true that the film is an X-rated movie, and it’s true that it takes place mostly in the 1970s, but the film spans from the 19th century into the present day — it’s just predominantly focused on the ’70s. The film is really, really genre-defying. But it was reported that the movie has something to do with The Texas Chain Saw Massacre, which is not true at all.”

What We Know About the Film So Far

The scale here is hard to overstate. Corbet is working from a script that reportedly runs to around 200 pages — a detail that raised eyebrows at the Storyhouse Screenwriting Festival in Dublin where he mentioned it, given that The Brutalist clocked in at over three hours even with a shorter screenplay. The projected runtime for this one is four hours. Principal photography is planned for this summer across Portugal and South Africa, over more than 50 shooting days.

The film will be shot on ultra-rare eight-perf 65mm cameras, the same large-format approach that gave The Brutalist its immersive visual weight. Andrew Morrison is producing through the Kaplan Morrison banner, a continuation of the partnership that brought Corbet’s last film to life. No distributor is attached yet — though given that The Brutalist landed at A24 and earned 10 Oscar nominations, it’s safe to assume the competition for this one will be serious once it’s ready.

Thematically, The Origin of the World is shaping up to be every bit as ambitious as its predecessor. American mysticism and the history of the occult form the backbone of the story, and Corbet is working with occult historian Mitch Horowitz to trace cultist belief structures across American culture. The film will also explore immigration from China to California — giving it the same sweeping historical reach that defined The Brutalist‘s portrait of postwar America. Corbet had also previously mentioned that the film will explore “Northern California’s economy” in some capacity.

A Cast Built for This Kind of Work

The casting is striking on multiple levels. Blanchett and Fassbender already have an established on-screen chemistry — they played a married couple navigating mutual suspicion inside British intelligence in Steven Soderbergh’s spy thriller Black Bag last year, a film that showed just how well they work together under pressure. Corbet gets to lean into that dynamic rather than build it from scratch.

Blanchett, of course, needs little introduction — she’s one of the most decorated actors working today, with collaborations spanning Martin Scorsese, Wes Anderson, Guillermo del Toro, and David Fincher. Her most recent film, Jim Jarmusch’s Father Mother Sister Brother, won the Golden Lion at the Venice Film Festival. Fassbender, meanwhile, brings the kind of physically and emotionally committed intensity that Corbet’s work has always demanded from its leads.

And then there’s Gomez — who, in some ways, is the most intriguing piece of this puzzle.

Another Step Away From the Disney Chapter

For anyone who has been watching Gomez’s career arc, joining a Brady Corbet X-rated epic isn’t a surprise so much as a logical next move. The former Wizards of Waverly Place star has spent years deliberately and methodically dismantling the squeaky-clean image that made her famous. Harmony Korine’s Spring Breakers was an early, jarring signal. Her Golden Globe-nominated turn in Emilia Pérez last year was a full arrival. This feels like the next chapter.

Back in 2023, Gomez was direct about where she stood with her past. “I definitely feel free of it,” she told Variety. But she also acknowledged that the distance isn’t always clean. “Sometimes I get triggered. It’s not that I’m ashamed of my past, it’s just that I’ve worked so hard to find my own way. I don’t want to be who I was. I want to be who I am.”

She’s talked openly about the particular weight of being a Disney kid — the constant self-monitoring, the impossible standard of wholesomeness. “I wasn’t a wild child by any means, but I was on Disney, so I had to make sure not to say ‘What the hell?’ in front of anyone,” she said. “It’s stuff that I was also putting on myself to be the best role model I could be.”

What’s changed, she’s said, is her definition of what that actually means. “Now I think being the best role model is being honest, even with the ugly and complicated parts of yourself.”

A four-hour X-rated epic about American mysticism and the occult, shot on 65mm in Portugal and South Africa alongside two of the most respected actors on the planet, directed by the man who just made one of the most talked-about films of the decade — that’s about as honest a statement of intent as it gets.

The post Selena Gomez Joins Cate Blanchett in Brady Corbet’s X-Rated Epic appeared first on Cream.

• Na Hong-jin’s sci-fi monster epic Hope premiered at Cannes to a seven-minute standing ovation after a 10-year gap since his last film
• Michael Fassbender, Alicia Vikander, and Taylor Russell play CGI aliens from the planet Gh’ertu — with Fassbender admitting “Alicia told me to do it”
• The 160-minute film is one of the most expensive Korean productions ever made and will be released in the U.S. by Neon later this year
• Na Hong-jin confirmed a sequel is already written, set in space and more centered on the alien characters
• Critics are calling it everything from a “glorious genre romp” to the most carnage Cannes has seen since Mad Max: Fury Road

Na Hong-jin hasn’t made a film in ten years. Cannes just made up for every one of them.

The Korean writer-director’s long-awaited return, Hope, premiered at the festival Sunday night to a seven-minute standing ovation — an almost absurd response for a movie that features alien invasions, elderly villagers hiding machine gun arsenals, and a high-speed horse-to-police-car chase sequence that has to be seen to be believed. But then again, Hope is not your average science fiction film, and Na is not your average filmmaker.

“I’m really nervous,” Na said in an interview alongside the Cannes beach just hours before the premiere. “I didn’t imagine it would be so nerve-wracking to be honest, to the point of not sleeping.”

He didn’t need to worry.

What Is ‘Hope,’ Exactly?

Set in Hope Harbor, a remote rural village near South Korea’s heavily fortified Demilitarized Zone, the film opens with something deceptively small: a dead bull, its carcass mysteriously scarred. Local police chief Bum-seok (Hwang Jung-min) goes to investigate what he assumes is a tiger, and from there, the movie never stops moving. For forty unbroken minutes, an unkillable giant monster tears through the village — ripping citizens apart, destroying buildings, racking up a body count — and you never actually see the creature. It’s a breathless, real-time chase sequence that makes up essentially the entire first act.

The eventual reveal of what’s actually going on is where Hope makes its craziest leap: this isn’t a monster movie. It’s a full-scale alien invasion from the planet Gh’ertu, and the extraterrestrials come in all shapes and represent distinct class divisions from their home world. The scale keeps growing from there, accumulating into what Na himself describes as “a cosmically grand, audaciously gonzo” sci-fi tale — one that somehow also has a lot to say about xenophobia, perspective, and the misunderstandings that drive catastrophe.

“I started off with a focus on xenophobia and immigrant problems,” Na explained. “As I was developing the story, it became a much bigger story. In any big tragedy, they don’t necessarily arise from malicious intention. It all starts with difference in perspective. I think it’s that conflict in perspective or misunderstanding that creates these collisions. That’s what I wanted to talk about.”

The film runs two hours and forty minutes. It earns most of them.

Fassbender and Vikander, Playing Aliens — Because She Said So

One of Hope‘s most delicious surprises is the casting of Michael Fassbender, Alicia Vikander, and Taylor Russell as members of Gh’ertu’s royal alien family — rendered in CGI, playing the film’s antagonists. It’s a genuinely unexpected pivot for a movie that starts as a very grounded Korean village thriller, and the story of how they ended up there is almost as entertaining as the film itself.

It started with Vikander, who attended the Busan Film Festival early in her career and fell hard for Korean cinema. She began developing a separate project with Na, but the conversation eventually turned to the alien film he’d been quietly working on for a decade. Na only had roles for extraterrestrials. “I was intrigued. I didn’t think. I said ‘Yes!'” she beamed at the Cannes press conference Monday.

As for Fassbender — her husband — his reasoning was considerably simpler. “Alicia told me to do it!” he said, to a room full of laughter. “He listens to me!” Vikander shot back.

The Shame and Prometheus actor said he was also genuinely drawn to Na’s unpredictability as a filmmaker. “You don’t know what’s coming next,” Fassbender said. “He’s mixing genres — comedy, then absurd, then very real.” At the press conference, he offered a thoughtful read on what makes the alien characters work: “They want the same thing — protecting their young, protecting the future of their young. The similarities between us and aliens is what we look at in the film.”

Taylor Russell, who was brought in through Vikander as well, said landing the role felt almost inconceivable. “I wouldn’t even cast myself in any of his films because it feels inconceivable, so when the call came… it made me think this would be a fun ride,” she said. “It would be great to do more Korean films, and maybe speak Korean as well in the future.”

Na said none of it was a package deal — he genuinely sought out each actor. “I really admired Michael and wanted to work with him,” he said. “Michael, Alicia, and Taylor — all these three characters really have their own world.”

The Cast That Showed Up Because It’s Na Hong-jin

For the Korean stars of the film, the draw was simpler still. Hwang Jung-min, one of South Korea’s biggest stars and a veteran of Na’s 2016 thriller The Wailing, was the first to sign on. The two had talked about working together again almost immediately after that film wrapped. Asked why he wanted to do Hope, co-star Zo In-sung was refreshingly blunt: “Because it’s Na Hong-jin. Nothing else.”

Hwang was equally direct — with a punchline attached. “Among the actors, we have this faith in the director that whatever movie he does, he’ll do a good movie,” he said, before deadpanning: “But I don’t think he knows that many good actors.”

Squid Game‘s Jung Ho-yeon rounds out the central trio as Sung-ae, a rookie officer whose entrance — slow-motion, grenade launcher in hand — reportedly had the Cannes audience cheering out loud. Her pairing with Hwang’s blustering, terrified-but-capable chief turns out to be one of the film’s most enjoyable dynamics.

https://youtube.com/watch?v=Vt7860xZFXk%3Fsi%3Dye7iCA3qIo6N9EkP

What Critics Are Saying

The response out of Cannes has been loud, enthusiastic, and occasionally bewildered — which feels entirely appropriate for a film this unclassifiable.

Variety’s Jessica Kiang called it “hilarious, unwieldy, overlong and featuring some of the most breathtakingly elegant action moviemaking of this or any year.” Deadline said it “never lets up for a minute of its two-hour, 40-minute running time and out-Hollywoods anything of its kind made by Hollywood.” TheWrap called it “the all-time great new action film” with “more magnificent moments in its opening act than most do in their entire runtime.” The Hollywood Reporter praised its “magnetic principals,” “cheeky sense of humor” and “thrilling action,” calling it “a crazy good time.”

The one consistent note of criticism: the CGI. Na was racing to finish the edit in time for Cannes, and reviewers have noted that the creature effects don’t always hold up. Notably, Na himself apparently acknowledged at the premiere that the film runs a shade too long. But with Neon distributing stateside and a theatrical release planned for the fall, there’s a reasonable expectation the VFX will be polished before most audiences see it.

The score, by Michael Abels — who also composed for Jordan Peele’s Nope — has drawn particular praise, and the comparison to Peele’s film isn’t entirely coincidental: both deal with humans confronting something alien and unknowable, and both are more interested in the human response than the monster itself.

A Sequel Is Already Written

Na didn’t come to Cannes with just one movie in mind. At Monday’s press conference, he confirmed what he’d hinted at in earlier interviews: a sequel is already scripted. “I think you can readily imagine this sequel. And there’s a script that’s already been done that I’d like to shoot. So if I have the opportunity, I would indeed make a sequel if possible,” he said.

The follow-up, set in space and more centered on Fassbender and Vikander’s alien characters, represents the part of the story Na ultimately decided not to include in the first film. He apparently got so excited describing how part two ends at one point that his publicists had to shush him.

Na noted that it took ten years to get Hope to the screen — between the epic scope of the story, an editing process that stretched on, and CGI that “took forever.” “It didn’t feel that long to me. I only realize now that it’s been quite a journey,” he said with a sigh.

Jung Ho-yeon, for one, hopes the Cannes moment changes things for him. “He has such a cool filmography,” she said. “It will be nice if he can have a much wider audience.”

Hope opens in the U.S. later this year via Neon. Given the reception on the Croisette, it won’t be arriving quietly.

The post Na Hong-jin’s ‘Hope’ Rocks Cannes With Alien Mayhem appeared first on Cream.

• Hope received a seven-minute standing ovation at its Cannes world premiere Sunday night
• Director Na Hong-jin confirmed a sequel script is already written and he wants to shoot it
• Michael Fassbender, Alicia Vikander, and Taylor Russell play CGI aliens in the film
• Na drew inspiration from Jaws, Die Hard, and Lethal Weapon while writing the script
• Hope is set for a fall US release through Neon

Na Hong-jin isn’t done with his aliens. One day after Hope landed at the Cannes Film Festival to a thunderous seven-minute standing ovation, the Korean director told a packed press conference Monday that a sequel is not only on his mind — the script is already written.

“I think you can readily imagine this sequel,” Na said. “And there’s a script that’s already been done that I’d like to shoot. So if I have the opportunity, I would indeed make a sequel if possible.”

That’s a pretty definitive “yes” dressed up in filmmaker humility.

What Hope Is Actually About

The big-budget sci-fi action film centers on an alien invasion from the planet Gh’ertu, whose inhabitants crash-land in a rural South Korean town called Hope Harbor. The creatures — representing different shapes and class divisions from their home world — descend on the locals, and all hell breaks loose. Korean stars Hwang Jung-min, Zo In-sung, and Hoyeon Jung anchor the survival story on the ground, while Michael Fassbender, Oscar winner Alicia Vikander, Taylor Russell, and Cameron Britton play the English-speaking extraterrestrial family at the center of the chaos. All four are rendered as CGI aliens.

The film drew spontaneous bursts of applause during its high-octane set pieces at the Grand Théâtre Lumière premiere Sunday night — and Na, characteristically, wasn’t entirely satisfied. “I was thinking I should have more applauses,” he laughed. “I need to work on it harder. To be honest with you I didn’t have enough time to finish this film for Cannes. There’s still work to do. I was working on the sound just the day before traveling here.”

Why Fassbender and Vikander Said Yes to Playing Aliens

The real-life married couple came to the project through very different paths — sort of. Vikander explained that she fell in love with Korean cinema early in her career after attending the Busan Film Festival. She saw Na’s previous film The Whaling and was “utterly blown away.” When Na reached out years later, the pitch was simple. “He said, ‘I have some aliens.’ And I was intrigued,” she recalled. “I didn’t think, I said yes! I think director Na is incredible, such a visionary, and I felt very honored to be part of his film.”

Fassbender’s path was considerably shorter. “Alicia told me to do it,” he deadpanned.

“He listens to me!” Vikander shot back — and the room erupted.

Taylor Russell, who Vikander also brought into the fold, had been dreaming about working in foreign-language cinema for a while. “The dream is to be able to work in a different country on foreign, to me, language films and to work with an auteur. And director Na is an auteur who makes incredible cinema,” she said. “I wouldn’t even cast myself in any of his films because it feels inconceivable, so when the call came, you made me laugh the entire time I talked to you, so it made me think this would be a fun ride.” She added that she’d love to do more Korean films in the future — and maybe even speak Korean on screen.

Na, for his part, said Fassbender and Vikander were essential to realizing his vision for the creatures. “They showed me such utter trust,” he said of the two actors, who filmed their scenes on a sound stage in South Korea.

The Hollywood DNA Behind a Korean Sci-Fi Epic

For all its Korean roots — shot primarily on locations and stages in South Korea — Hope has Hollywood running through its veins. Na watched scores of American films while developing the script, reaching back through decades of genre cinema to find his touchstones.

For the terror of something unseen and pursuing, he turned to Spielberg’s 1971 TV movie Duel. For understanding how a lone cop handles a situation completely beyond his training, he studied Jaws. The lone-hero energy of Hwang Jung-min’s sheriff character was shaped by rewatching Bruce Willis in Die Hard — but the film that really clicked for Na was Richard Donner’s Lethal Weapon. “I loved that film, I enjoyed that film thoroughly,” he said with a wide grin, particularly drawn to the idea of heroes who simply refuse to die.

For the creature design itself, Na deliberately avoided leaning entirely on modern CGI. He went back to 1950s and ’60s monster movies — The Creature From the Black Lagoon, Fantastic Voyage — because he wanted the aliens to have what he called “a human-being touch.” The goal was texture and physicality, not photorealistic polish.

When a journalist at Monday’s press conference asked whether real aliens might come to Earth and teach humanity something, Na wasn’t having it. “Why are you asking me this question!” he scoffed, before deflecting to his cast.

Fassbender took the question seriously. “I don’t know we can learn something. It depends,” he said. “In the last couple of years, the American government has been releasing stuff that pilots have captured — unidentifiable flying objects. Hopefully we’re learning something from them. In our case, what’s interesting about the aliens — we compare them to humans. They want the same thing, protecting their young, protecting the future of their young. The similarities between us and aliens is what we look at in the film.”

Hope opens in the US this fall through Neon. And if Na has his way, it won’t be the last trip to Hope Harbor.

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