• 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.

The post Hope Director Confirms Sequel Already Written After Cannes Ovation appeared first on Cream.

• Na Hong-jin’s Hope premiered in Competition at the 2026 Cannes Film Festival — a rare slot for a full-throttle creature feature
• The film pits South Korean villagers against alien invaders from the planet Gh’ertu, set in a remote town near the DMZ
• Michael Fassbender, Alicia Vikander, Taylor Russell, and Cameron Britton play the aliens via motion capture
• Squid Game‘s Hoyeon makes her feature film debut and is being hailed as a full-blown action star
• NEON will release the film in theaters; critics are divided but nearly unanimous that its first hour is extraordinary

Ten years is a long time to wait for a movie. But Na Hong-jin — the South Korean director behind The Chaser, The Yellow Sea, and the genuinely haunting The Wailing — has always operated on his own schedule, and Hope, his long-awaited return, makes the case that some things are worth the patience. The film premiered in Competition at the 2026 Cannes Film Festival on Sunday, and it arrived not with a whisper but with the force of a car being hurled through a brick wall by something that is very much not a tiger.

What Na has made is a sci-fi creature feature set in the sleepy coastal town of Hope Harbor, a shabby South Korean hamlet so close to the DMZ that its weathered billboards warn residents to “Report Spies!” and “Guard Against Infiltrators!” — a sight gag that lands with extra punch once you understand what’s actually coming. The setting is the late ’80s, pre-cellphones, and the film opens with police chief Bum-seok (Hwang Jung-min, reuniting with Na after The Wailing) being called out to investigate the mutilated carcass of a bull in the middle of a field. Massive claw marks. Reeks of old fish. Local hunters suggest it might be a legendary tiger that wanders down from the North every so often, having learned to navigate the landmines. Bum-seok doesn’t buy it.

He’s right not to.

What follows in the film’s first 45 minutes is, by near-universal critical agreement, one of the most exhilarating extended sequences in recent action cinema. Na keeps the creature entirely out of frame — you see only its effects: obliterated storefronts, rows of splintered houses, corpses strewn across narrow alleyways, cars launching out of nowhere. The monster is everywhere and nowhere, and the tension is almost unbearable. When Bum-seok frantically sprints through street after devastated street, the film works like a masterclass in restraint — every explosion off in the distance, every vehicle hurled from out of frame making the unseen threat feel that much more enormous.

Enter Hoyeon — and She Owns the Movie

The moment the chaos truly ignites is when Officer Sung-ae arrives. Played by Hoyeon — the model-turned-actress who became a global phenomenon on Squid Game — she pulls up in a squad car packed with military-grade weapons and immediately takes charge. “It’s killed so many people,” she bellows, executing a perfect handbrake turn. “Monster or not, it’s just not right!” Rather than scared, she’s furious. And she is absolutely magnetic.

Sung-ae is foul-mouthed, fearless behind the wheel, and handles rocket blasters the way most cops handle a clipboard. Hoyeon delivers her lines — “You crossed the line!” “Don’t push your luck, you stinking butthole!” “Die already, motherfucker!” — with such controlled comic timing and physical presence that multiple critics are already calling her arrival one of the year’s great star-making moments. The Wrap compared her to Choi Min-sik and Lee Byung-hun. The Hollywood Reporter called her “a hoot in her first feature role.” At one point, when hunter Sung-ki (Zo In-Sung) pulls off a spectacular shot from a speeding car window, Sung-ae’s reaction is simply: “What are you, a movie star? So damn hot!” — a line that lands even funnier given that Hoyeon is the one saying it.

The humor throughout is one of Hope‘s secret weapons. Na’s comedy is always judicious — never too broad, never breaking the tension so much as releasing it just enough. There’s the extended, deeply bawdy monologue from a hospitalized senior who describes, in painstaking detail, the spicy-pork-induced digestive emergency he suffered at the exact moment four monsters appeared on the mountainside — “I swear in all my 70 years I never clenched my hole so tight” — while Hoyeon’s reactions are priceless. There’s a darkly hilarious necropsy sequence in which a scientist, after every blade and saw proves inadequate to cut through the creature’s skin, suits up in protective plastic-wear and fires up a chainsaw. And then there’s the tragic-comic moment when Bum-seok and an elderly man with a bow and arrow open fire on what they think is the monster through a closed door — only to discover it was the local butcher on a phone call. “Honey, I’ll call you back,” the man says into the receiver, glancing down at his likely mortal shotgun wounds. “Feels breezy.”

The Aliens, the Stars, and the Big Reveal

The creatures themselves — invaders from the planet Gh’ertu, crash-landed in Hope Harbor — are where critics start to diverge. The first monster reveal, around the 45-minute mark, arrives as a clawed hand reaching out of a darkened tunnel to grab a man by the head and fling him like a rag doll. The full look comes shortly after, and reactions ranged from impressed to genuinely deflated depending on who you ask.

Hollywood Reporter called the creature designs “strikingly original” and praised the effects work even while acknowledging occasional obvious CG touches. The Wrap noted that while the visual effects can leave the creatures feeling “occasionally more awkwardly weightless,” the film’s craft carries it through. Variety was more pointed, calling the aesthetic “weightless” and reminiscent of “old-school videogame” design. And IndieWire went hardest, comparing the reveal unfavorably to the Scorpion King in The Mummy Returns — a sting that will land with anyone who remembers that particular CGI catastrophe — and arguing that the deflation from the film’s extraordinary first hour is “hard to overstate.”

What nearly everyone agrees on is that the film’s secret weapon in its later sections isn’t the effects — it’s who’s inside them. Michael Fassbender, Alicia Vikander, Taylor Russell, and Cameron Britton all appear via motion capture as members of the Gh’ertu alien clan, with Fassbender, Vikander, and Russell playing what Deadline describes as the royal family of their planet. They speak a constructed alien language and carry themselves with an otherworldly calm that, in the film’s more thoughtful moments, makes them seem considerably more civilized than the panicked humans trying to destroy them. It adds a quiet layer of commentary — the aliens as immigrants, feared and attacked before anyone thinks to ask whether they’re actually the enemy — though Variety noted that reading requires “pulling a muscle” to get there, and it’s a stretch. The casting of Western stars as the heavily CG-disguised alien clan could also be read as a sly inversion of the way Hollywood has historically othered Asian actors in its own blockbusters.

Na himself has spoken of the film’s thematic undercurrent — the way the villagers’ instinct is to destroy first, understand never — though Hope wears its politics lightly. This is, above all, a chase movie. And what a chase.

The Action, the Craft, and That Highway Sequence

Cinematographer Hong Kyung-pyo, who shot Parasite, Burning, and The Wailing, delivers work here that multiple reviewers called a marvel. His camera doesn’t shake and jitter through the chaos — it glides, sweeps, and tracks with an almost insolent grace, making the carnage feel both enormous and precisely controlled. There’s one shot in particular — a speeding car pulling a U-turn while the camera swings around and follows it receding into the distance, as if the camera itself had built up so much momentum it needs a runway’s length to change direction — that reviewers singled out as a pure expression of cinematic craft applied to gleefully pulpy material.

The score by Michael Abels — who worked with Jordan Peele on Get Out and Nope — is being called an all-timer, unsettling and dread-soaked early on before becoming frenetically nerve-shredding as the stakes escalate. Editor Kim Sunmin keeps the 160-minute runtime from feeling indulgent, folding dialogue scenes and action sequences into a package that, for most of its runtime, never loosens its grip.

The film’s climax — a sprawling, chaotic chase down a deserted mountain highway involving cars, a horse, at least one alien who could outrun a marathon champion, and Zo In-Sung’s hunter Sung-ki riding bareback alongside a speeding vehicle — is the sequence critics keep returning to. Deadline called it “spectacular.” The Wrap put it in conversation with Mad Max: Fury Road. Even IndieWire, the film’s harshest reviewer, conceded that Na’s “undeniable flair for arranging visceral bits of mayhem far outstrips the visual imagination on display in the average Hollywood blockbuster.”

The whole production — reportedly the largest budget in Korean film history, rumored at around ₩50 billion (approximately $33 million USD) — was shot on real locations, including the Jeju Island set pieces, with the film later moving to Romania’s Retezek National Park for the forest sequences. The practical grounding of the filmmaking is part of what makes the CGI creatures feel jarring to some viewers: when everything around them is so tactile, so real, the weightlessness of the digital figures stands out.

A Cannes Competition Curveball — and What Comes Next

The fact that Hope landed in Cannes Competition at all is its own kind of story. This year’s festival has skewed heavily toward quieter auteur cinema, and a two-hour-40-minute alien creature feature — however prestigious its director — is a genuinely unusual presence in the main competition. Variety noted that it “does not rationally fit” there. Deadline called it “a rare film of this kind to get that kind of instant cred from the festival.” Na has had films in Cannes before — The Wailing premiered here in 2016 — but this is his first time in the main competition, and he’s arrived with something that defies every expectation of what a Cannes Competition film is supposed to be.

NEON will release Hope in theaters. And yes — the ending sets up a sequel clearly enough that pretty much every critic mentioned it. Whether the franchise gets there will likely depend on how audiences respond to what Na has built here: a film that is, depending on your tolerance for janky CGI and a saggy middle act, either a breathtaking genre triumph or a brilliant first hour followed by a long, expensive stumble.

What’s not in dispute is Hoyeon. Whatever else you think of Hope, she arrived at Cannes as a Squid Game breakout and left as something else entirely. As one character says of her in the film, in a moment that now reads as almost prophetic: “What are you, a movie star?”

The post Na Hong-jin’s ‘Hope’ Wows Cannes With Aliens vs. Korea appeared first on Cream.