Cinema Review: Hope (2026)
Directed by Na Hong-jin
Written by Na Hong-jin
Produced by: Na Hong-jin, Kim Sae-mi, Kim Sae-rom
Main cast: Hwang Jung-min, Zo In-sung, Jung Ho-yeon, Taylor Russell,
Cameron Britton, Alicia Vikander, Michael Fassbender, etc.
Cinematography Hong Kyung-pyo
*** CONTAINS SPOILERS ***
I haven’t seen Na Hong-jin’s film The Yellow Sea (2010). But I saw the critically acclaimed horror film, The Wailing (2016) twice. While I did not connect narratively with this gruesome horror as much as the critics, it is a film, that while overlong, really makes your skin crawl. Hong-Jin’s first film The Chaser (2008) is equally gruesome as a pimp pursues a killer who has stolen one of “his” sex workers. Part police procedural and part urban horror film, it is an uneven, but exhilarating thriller full of twists and turns and flawed characters. Which brings us Na Hong-jin’s latest film release, Hope (2026). It’s also a chase film, full of action and suspense, containing an altogether set of monsters.
Set in the remote fishing community of Hope Harbour, close to North Korea’s demilitarised northern border, Na Hong-jin’s Hope (2026) follows the local police chief (Hwang Jung-min), his deputy (Jung Ho-yeon) and a ragtag assortment of hunters and townspeople as their isolated community comes under threat from something decidedly alien to Earth. What follows is a propulsive, exhilarating action film that hurtles along at breakneck pace, with spectacular car and horseback pursuits as the locals battle terrifying off-world creatures using little more than analogue weapons, ingenuity and sheer bloody determination.
Arguably overlong and in need of some pruning, the film also feels rushed its introduction of characters and setting, particularly for those unfamiliar with small-town Korean culture. However, given the whole film is in effect a first-parter with a sequel to follow another watch would iron out such an initial reaction. Further, I only discovered afterwards that it was set in the 1980s, which perhaps reflects its occasionally muddled sense of time and place.
Much of the huge budget not only produces effective CGI creatures – although slightly videogame-ish in look – but also considerable carnage and destruction. In terms of the human cast Kang Sae-byeok’s character stands out. Following her breakthrough performance in Squid Game (2021–2025), Jung Ho-yeon confirms herself as a sparkling screen presence, effortlessly combining nuanced characterisation with an extraordinary flair for physical action. Her magnetic charisma, expressive physicality and natural screen confidence make her a compelling performer, equally convincing in moments of quiet vulnerability and full-throttle action.
Overall, Na Hong-jin’s chaotic tendencies towards structure and narrative are certainly evident, but there’s something wonderfully audacious about the sheer scale, energy and ambition of his filmmaking. Hope (2026) is a film that will undoubtedly benefit from a second viewing, not least to absorb its extraordinary detail and relentless invention. The relentless action and alien worldbuilding are impressive, although for science fiction fans certain elements will feel over-familiar. Yet, despite its flaws, this could well be one of the most thrilling films I’ve seen in 2026. A gloriously unhinged, ferociously entertaining piece of cinema that somehow manages to turn a small Korean town into the unlikely battleground for an interplanetary nightmare, with more chaos to come.
