Director Na Hong-jin calls his violent new film 'Hope' 'excessively kind'

Director Na Hong-jin's latest offering, 'Hope,' has premiered at the Cannes Film Festival, generating significant buzz with its unique blend of visceral violence and unexpected humor. Despite the on-screen carnage and profanity, Na describes the film as "excessively kind," a paradoxical statement that hints at the deeper, more nuanced narrative at play. He explained in a press conference that the film's kindness stems from its core message: there are no true antagonists. Every character, no matter how monstrous their actions may seem, possesses their own story and perspective, challenging the audience to look beyond simple good-versus-evil dichotomies.

“

I thought of 'Hope' as an excessively kind movie while filming it.

The film's setting in the fictional village of Hopohang, near the Demilitarized Zone (DMZ), adds another layer of thematic depth. While Na insists the setting is not a direct reflection of modern Korean history or division, its isolation and perceived backwardness serve as a deliberate backdrop for a story that expands into the cosmic. The presence of anti-communist slogans scattered throughout the village, however, inevitably invites interpretation as a subtle commentary on the long-held notions of 'enemies' within South Korean society. This juxtaposition of the local and the universal, the mundane and the extraterrestrial, is a hallmark of Na's storytelling.

“

The message the movie wants to convey is that 'there is no antagonist.' It means everyone has their own story and different circumstances.

'Hope' marks Na Hong-jin's return to filmmaking after a decade since 'The Wailing.' The director's meticulous and often lengthy post-production process is well-documented, and 'Hope' is no exception. Even after its premiere, Na revealed he was still engaged in late-night editing sessions, aiming to perfect the film before its official release in July. This relentless pursuit of perfection, coupled with his consistent presence at Cannes with previous works like 'The Chaser,' 'The Yellow Sea,' and 'The Wailing,' solidifies his reputation as a filmmaker dedicated to his craft. His inclusion in the main competition this year is a significant achievement, a testament to his distinctive cinematic voice that continues to captivate international audiences.

“

I wanted it to be a primitive movie with intense action and actors' performances, even though it features creatures made with computer graphics.