Why “Hope” became Cannes’ ‘unsafe blockbuster’ this year

Director Na Hong-jin's new film "Hope" was invited to the competition section of the 79th Cannes International Film Festival and received great attention even before its release. Expectations were high simply because it was the first new film in 10 years from a director who had pushed the tension and anxiety of genre films with “The Chaser,” “The Yellow Sea,” and “The Wailing.”

Original Korean article: Analysis of Cannes reaction to Na Hong-jin’s “Hope”: Reasons for the difference between favorable and harsh reviews

However, the reaction of Na Hong-jin and Hope Khan after Cannes was released was not just a simple positive review. Domestic articles focused on “7-minute standing ovation,” “highest production cost for a Korean film,” and “advance into Cannes competition,” while also reporting that overseas critics’ reactions were extremely divided. Overseas reviews are also similar. Praise poured in for the overwhelming action and energy, but there was also strong criticism for the VFX perfection, long running time, and excessive narrative.

In the end, Hope’s current location is clear. It is the most controversial Korean film at Cannes this year, and it is a work that makes audiences ask, “What does it mean that a film like this is in the Cannes competition section?” rather than “Is it a well-made film?”

《Hope》A science fiction monster drama that begins in a village near the DMZ

《Hope》 is set in ‘Hopo Port’, a virtual port town near the Demilitarized Zone. An unidentified alien life form appears in the village, and as the police, residents, and hunters fight for survival, the incident escalates into greater violence and chaos.

The main cast members are Hwang Jung-min, Jo In-seong, and Jung Ho-yeon, and foreign actors such as Michael Fassbender, Alicia Vikander, Taylor Russell, and Cameron Britton also participated. According to an interview with Yonhap News, director Na Hong-jin described this film as a story that started from “the ominousness of the world.” He said that the starting point of his work was the sense of war, violence, and the spread of anxiety around the world.

What's interesting is the genre. 《Hope》 is not just a monster movie, but is introduced as a work that combines mystery, black comedy, war action, and a science fiction worldview. This genre excess is the core cause of both favorable and harsh reviews at Cannes.

Expectations created by “Cannes Competition” and “Standing Ovation”

Major domestic reports first covered the industrial and symbolic meaning of “Hop.” All of director Na Hong-jin's previous works had a connection to Cannes, but "Hope" was the first to enter the competition category. This can be interpreted as meaning that Korean genre films will once again be evaluated on the center stage of Cannes.

Korea JoongAng Daily and domestic media reported that there was a standing ovation of about 6 to 7 minutes after the Cannes World Premiere. Maeil Business Newspaper and Kyunghyang Shinmun interpreted this reaction as a “hot topic,” but also introduced mixed local reviews.

Three points emphasized by domestic articles

Domestic reporting points Key contents Impression received by readers Invited to the Cannes competition section Director Na Hong-jin's first entry into the Cannes competition section Korean genre film recognized at the art film festival 6-7 minute standing ovation Hot on-site response immediately after release Expectations and topicality rise Dramatic overseas reviews Action praise and CG criticism coexist Strengthening the image as a “controversial problem film”

One thing to note is that although a standing ovation may be an indicator of the atmosphere at a film festival, it is not a critical indicator that guarantees the completeness of a work. When reading domestic reports, it is necessary to distinguish between “the response was enthusiastic at Cannes” and “it received consistent critical praise.”

The action is overwhelming, but the VFX and running time are controversial.

Overseas critics' reactions to Na Hong-jin and Hope Khan are largely divided into two categories. Positive reviews praised “overwhelming energy,” “bold genre mixing,” and “action that pushes the audience.” Conversely, negative reviews raised issues with “long running time,” “insufficient CGI,” and “excessive worldview and narrative.”

Favorite review: Rated as the most daring genre film of the year

The Hollywood Reporter evaluated Hope as a work that “deserves to become an instant cult classic,” emphasizing its turbo-charged thrills and genre assurance. Screen Daily also described it as “a genre mix with breakneck pace, gallows humor, blood and gore.”

Variety gave a more mixed but impressive review. The publication found the film overlong, overlong, and lacking in VFX, but said that for much of the time it played like "one of the most entertaining action films I've seen in a while." AP also reported that “Hope” was not typical science fiction and left the Cannes audience between wonder, confusion, and excitement.

Criticism: Points out that it becomes weaker after the ‘true nature of the monster’ is revealed

The first thing to look at in negative reviews is the VFX and narrative. SCMP viewed Hope as close to a “monster mess,” and pointed out that it was difficult to compensate for the awkward CGI and poor setting with only a strong start and the actors’ performances. Screen Daily also evaluated that although the tension in the first hour was strong, the limitations of VFX were visible after the monster was revealed in earnest.

IGN believed that, even with its flaws, there was a sense of pleasure in wondering, “How can a movie like this exist?” In other words, “Hope” is closer to a runaway film that drags even the flaws as part of its energy, rather than a complete film with no flaws.

What was the difference between domestic news and overseas reviews?

Category Focus of major domestic news Focus of overseas critic reviews Interpretation Film festival meaning Invitation to Cannes competition, status of Korean film Festival context of “Expansion of Cannes,” a rare large-scale monster film in competition Category On-site reaction 6-7 minutes standing ovation, topicality A mix of audience cheers and bewilderment Reactions were warm, but not consistent praise Strengths Scale, casting, return of Na Hong-jin Action directing, sense of speed, black comedy, genre ambition Experientiality as a genre film Strengths Weaknesses CG controversy, long running time Introduction VFX, Excessive worldview, sense of repetition, narrative persuasiveness. Prospects for movie audiences pushing for energy rather than completeness. Rising expectations before domestic release. Possibility of cult status and risk of likes and dislikes. Mass box office success likely to be influenced by word of mouth.

The most important difference in this comparison is the standard of evaluation. Domestic reports emphasize the eventfulness of “Hope,” focusing on its entry into film festivals and on-site reactions. Overseas reviews examine the structure, rhythm, VFX, and genre operation of the actual film in more detail.

The strength of Na Hong-jin's film soon became a risk.

Director Na Hong-jin's strength has always been in transforming anxiety and chaos into genre energy. If “The Wailing” mixed the occult, thriller, and mystery to force the audience into uncertainty, “Hope” seems to be a work that expanded that method on a much larger budget and larger scale.

The problem is that as the scale grows, the standards required by the audience change. The moment monsters and alien lifeforms appear in person, the audience sees not only the director's imagination but also the persuasiveness of the VFX. This is why CG problems were repeatedly mentioned in overseas reviews.

The pleasure and fatigue of mixing genres

《Hope》 does not stay in one genre. In the beginning, it starts off as a mystery hiding the true nature of the monster, and later expands into chase action, gore, comedy, and an alien world view. This change may be an “unpredictable pleasure” to some audiences, but it may feel like “unorganized excess” to others.

The duality of the 160-minute running time

The running time of 160 minutes is also a deciding factor in reactions. The positive reviews are that the energy is maintained even during the long running time. The critics believe that repeated chases, battles, and newly added settings create fatigue. In the end, “Hope” is read as a film that prioritizes a runaway experience over compressed perfection.

The position of 《Hope》 compared to 《Monster》 and 《Gakseong》

“Hope” is naturally compared to Bong Joon-ho’s “The Host” and Na Hong-jin’s own “The Wailing.” While “The Host” elaborately combined family drama and social satire within a monster film, “Hope” pushes violence, misunderstanding, and the sense of invasion more harshly in the space of a village near the DMZ.

Comparison with 《Gokseong》 is also important. 《The Wailing》 postponed the reality until the end, creating fear of faith and doubt. On the other hand, “Hope” hides its identity in the beginning, but later brings monsters and action to the forefront. Therefore, audiences who expected “The Wailing” may feel that the second half of “Hope” is excessive, and conversely, audiences who expected a large-scale genre film may perceive this excess as attractive.

Points to watch before domestic release: Final version may vary

In an interview with Yonhap News, director Na Hong-jin said that there are about two months left until the film's domestic release, and that he will continue to work on it until the very end. This suggests that some post-production work, including VFX, editing, and sound, may be adjusted.

Therefore, it is too early to conclude that the Cannes version review is the final evaluation of the domestic release. In particular, if the core of the current controversy is VFX and running time, whether or not it is supplemented before release may affect the actual audience response.

Three things audiences should check

1. Does VFX break immersion or is it perceived as an exaggeration of the genre?
2. Does the 160-minute running time increase the density of the experience or create a sense of repetition?
3. Does the alien life world view work as a sequel possibility, or does it remain as an unfinished setting?

These three things are likely to determine the direction of word of mouth from domestic audiences.

《Hope》 is closer to a ‘weird work that creates controversy’ than a ‘well-organized masterpiece’

If we summarize the reactions to Na Hong-jin Hope Khan to date, Hope is closer to a problematic work that generates strong likes and dislikes rather than a completed masterpiece that everyone agrees on. The action direction, energy, and genre ambition are generally recognized by foreign critics. However, the persuasiveness of the VFX, running time, and narrative are repeatedly pointed out.

However, this mixed reaction is not necessarily a negative sign. Rather, 《Hope》 is gaining its presence not by being a safe average, but by eliciting extreme responses. The fact that the Korean science fiction monster film in the competition section at Cannes was evaluated as both a “crazy movie” and a “bad CG” shows the nature of this work well.

There is one thing that audiences need to check after its domestic release. Will “Hope” remain an experience that overwhelms its flaws, or will it remain an example of ambition overtaking perfection? At least looking at the current Cannes reaction, “Hope” is not a film that will pass quietly by.

FAQ

Q1. What section of the Cannes Film Festival was 《Hope》 invited to?

“Hope” was invited to the competition section of the 79th Cannes International Film Festival. It is known that this is the first director Na Hong-jin's work to enter the competition category.

Q2. Have overseas critics viewed “Hope” favorably?

Evaluations were divided. The Hollywood Reporter, Screen Daily, AP, etc. highly praised the action, energy, and genre ambition. On the other hand, SCMP and others pointed out CGI, narrative, and running time as problems. There are also reviews, like Variety's, that strongly mention both strengths and weaknesses.

Q3. What does the 7-minute standing ovation mentioned in domestic reports mean?

The standing ovation is a sign that the reaction at Cannes was enthusiastic. One thing to note is that this is different from a unanimous evaluation of workmanship. In the case of 《Hope》, the on-site topicality was great, but the reviews were clearly divided into favorable and negative reviews.

Q4. Will the domestically released version be different from the Cannes screening?

There is a possibility. In an interview with Yonhap News, director Na Hong-jin said he would put the finishing touches on the film before its domestic release. In particular, there was a lot of response regarding VFX and editing, so it is necessary to confirm the final release version.

References

• Festival de Cannes, “HOPE” official work page: https://www.festival-cannes.com/f/hope/
• AP News, “The breathless Korean sci-fi monster movie ‘Hope’ leaves the Cannes Film Festival floored”: https://apnews.com/article/cannes-hope-na-hongjin-monster-movie-a46d51b2c2e414754697b6ceef007c11
• Yonhap News, “Na Hong-jin’s ‘Hope’ starts from the sinister side of the world… I’m happy to be invited to Cannes”: https://www.yna.co.kr/view/AKR20260519004700005
• Korea JoongAng Daily, “Na Hong-jin’s ‘Hope’ gets seven-minute standing ovation at Cannes”: https://koreajoongangdaily.joins.com/news/2026-05-18/entertainment/movies/Na-Hongjins-Hope-gets-sevenminute-standing-ovation-at-Cannes/2595049
• LA Times, “‘Hope,’ Korea’s biggest gamble, comes to Cannes”: https://www.latimes.com/entertainment-arts/movies/story/2026-05-17/na-hong-jin-hope-korea-sci-fi-cannes-2026
• Variety, “‘Hope’ Review: Na Hong-jin’s Overlong Creature Feature…”: https://variety.com/2026/film/reviews/hope-review-na-hong-jin-1236750496/
• The Hollywood Reporter, “‘Hope’ Review: Korean Action Maestro Na Hong-jin’s Rip-Roaring Sci-Fi Creature Feature…”: https://www.hollywoodreporter.com/movies/movie-reviews/hope-review-na-hong-jin-1236598154/
• Deadline, “‘Hope’ Review: Na Hong-Jin’s Aliens Vs. South Koreans Pic”: https://deadline.com/2026/05/hope-review-aliens-vs-south-koreans-cannes-film-festival-1236913546/
• Screen Daily, “‘Hope’ review: A rural South Korean community comes under attack…”: https://www.screendaily.com/reviews/hope-review-a-rural-south-korean-community-comes-under-attack-in-na-hong-jins-thunderously-entertaining-genre-mash-up/5216856.article
• IGN, “The Wailing Director Returns With Hope, an Uncanny Gonzo Thrill Ride”: https://www.ign.com/articles/hope-review-na-hong-jin
• SCMP, “Hope: director Na Hong-jin of The Wailing fame returns with a monster mess”: https://www.scmp.com/lifestyle/k-drama/k-movies/article/3353931/cannes-2026-hope-movie-review-wailing-director-na-hong-jin-back-monster-mess
• Maeil Business Newspaper Star Today, “‘Crazy Movie’ VS ‘Worst CG’… Na Hong-jin’s ‘Hope’, polarizing reactions to Cancer”: https://www.mk.co.kr/news/hot-issues/12051990
• Sports Kyunghyang, “Na Hong-jin’s new work ‘Hope’, ‘absurd but crazy’ vs ‘CG awkward’…”: https://sports.khan.co.kr/article/202605191234003/

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