South Korean filmmaker Na Hong-jin returns to the big screen after nearly a decade with his sci-fi monster thriller Hope. Following its world premiere at the Cannes Film Festival in May, neon confirmed the U.S. theatrical release for September 9.
The film drew a six-minute standing ovation at Cannes and sparked sharply divided reactions. Some critics praised its bravura, while others admitted to bafflement. Yet The Hollywood Reporter’s David Rooney hailed it as a “rip-roaring sci-fi creature feature” destined for cult classic status.
Set in the fictional border town of Hope Harbor near the Korean DMZ, the story follows police chef Bum-seok (Hwang Jung-min) and Officer Sung-ae (Hoyeon) as they confront a mysterious creature terrorizing the village. Meanwhile, hunters led by Sung-ki (Zo In-sung) track the beast through the forest, only to become prey themselves. What begins as misjudgment spirals into human conflict and tragedy on a cosmic scale.
The ensemble blends Korean stars with Hollywood names. Hwang reunites with Na after The Wailing, Zo brings intensity, and Hoyeon makes her feature debut. Supporting roles feature Michael Fassbender, Alicia Vikander, Taylor Russel, and Cameron Britton, adding international appeal.
Na reunites with cinematographer Hong Kyung-pyo, known for Parasite and Burning, while composer Michael Abels (Get Out, Nope) delivers the score. At two hours and forty minutes Hope runs long for a commercial action film, but its record presales at Cannes prove global distributors expect strong box office traction.
Korean producer Plus M Entertainment pre-sold the film to nearly 200 territories, recouping half its production budget before release. Alongside Neon, distributors include Mubi, Focus Features, Sony Pictures Worldwide, Gaga in Japan, and Star Ent. in India. For several buyers, Hope marks their first Korean acquisition.
A Korean release is set for this summer, paving the way for the U.S. debut on September 9. With its mix of spectacle, star power, and Na’s signature intensity, Hope positions itself as one of the year’s most talked-about genre films.
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