“Did You See It?” is a review column where we watch trending movies firsthand and share honest impressions and key takeaways. <Editor’s Note>
[Edaily Starin YUN GI BACK Reporter] Movies often explain a great deal. But “Hope” is different. It’s closer to an experience than an explanation. The characters don’t speak at length. Instead, they run, collide, and fight. The audience follows their movements with their eyes, takes them in with their ears, and feels the tension with their whole body. Action comes before words, and that action becomes the language of the story.
Director Na Hong-jin’s new film “Hope,” a decade in the making, is exactly that kind of movie. It is a culmination of his filmography and, at the same time, a work that takes his artistry to the next level.

The film begins with Beom-seok (Hwang Jung-min), the head of the Hopo Port branch office near the Demilitarized Zone (DMZ), discovering the carcass of a cow torn apart by an unknown entity in the middle of a rice paddy. Believing it to be the work of a tiger, Beom-seok follows the trail, but what descends upon the village is a being beyond all common sense. In this way, “Hope” blurs the boundaries between reality and the supernatural, drawing the audience into a grand narrative.
“Hope’s” greatest strength is undoubtedly its action. This isn’t simply a matter of scale. The way it builds tension is unique. In the early stages, it keeps the identity of the threat hidden while steadily accumulating anxiety, only to unleash it explosively at a certain moment. From then on, the film races forward almost without pause. One chase leads to another, and one battle triggers an even larger one. A relentless rhythm that leaves no room to relax dominates the entire film.
The 156-minute runtime only seems long on paper. The actual experience feels entirely different. As you follow the action with sweaty palms, you’ll find yourself at the end before you know it. The direction, which simultaneously engages both sight and sound, creates a sense of immersion that can only be fully experienced in a theater.
If you recall director Na Hong-jin’s previous works, there are many moments that will feel familiar and welcome. The film combines the breathless chase sequences seen in *The Chaser* and *The Yellow Sea* with the indescribably eerie atmosphere and mystery unique to *The Wailing*, all enhanced by the overwhelming scale specific to this new work. It gives the impression of having taken the strengths of his previous films and elevated them to the next level. For longtime fans, there’s the added pleasure of discovering both familiarity and novelty at the same time.

It’s not just a heavy film, either. The humor scattered throughout serves to briefly ease the audience’s tension. However, that laughter doesn’t last long. Just as viewers breathe a sigh of relief, an even more intense crisis strikes, and the humor actually functions as a device to amplify the tension that follows. The rhythm—which makes the audience burst into laughter while simultaneously keeping them on edge for the next scene—is impressive.
The actors’ action sequences also clearly highlight their individual personalities. Hwang Jung-min convincingly portrays the most human character, one who stands his ground to the very end even in the face of a colossal threat. It is all the more powerful because he is not a superhuman hero, but an ordinary person who presses forward despite his fears.
Jeong Ho-yeon makes her presence felt with crisp action sequences that make full use of her long limbs. Her clean, fluid movements and fast-paced choreography amp up the film’s energy. Jo In-sung leaves an overwhelming impression with just the scene where he gallops through the forest on horseback while engaged in a gunfight. The distinct action styles displayed by these three actors are a key element that keeps the film from feeling monotonous.

Concerns about the computer graphics (CG)—which were briefly mentioned at the Cannes Film Festival prior to the film’s release—naturally dissipate after watching the movie. In fact, the aliens’ visuals blend seamlessly into the narrative. Most impressively, the aliens are not hidden in the darkness. While most sci-fi films choose to conceal their true forms, Director Na Hong-jin places the aliens right in the middle of broad daylight. This decision not to hide them actually creates an even stronger sense of strangeness.
Moreover, the alien is not merely a visual effect. It functions as a character in its own right—a being with emotions. Every expression, gaze, gesture, and subtle movement conveys emotion, and at some point, the audience even forgets they’re watching CGI. Combined with the voice acting by Alicia Vikander and Michael Fassbender, the alien comes to life. The texture of its skin, its breathing, and even its voice make it feel like a living, breathing actor.

“Hope” is not merely a film that strings together spectacular visuals. It organically blends action, thrills, mystery, and science fiction to ultimately create a cohesive world. And the ending hints at yet another beginning. Rather than wrapping up the entire story, it leaves the door open to a broader world, stimulating the audience’s imagination.
The 10-year wait was by no means in vain. “Hope” is a work that once again proves why Director Na Hong-jin is regarded as the most original filmmaker in the Korean film industry. Above all, this is a film whose true value can only be fully appreciated on the big screen—with excellent sound—rather than on a small screen. It’s a film that persuades the audience through action rather than words, and through experience rather than explanation. For viewers seeking the most intense cinematic experience in theaters this summer, *Hope* will be the first film that comes to mind. Directed by Na Hong-jin. Runtime: 156 minutes. Opens July 15. Includes a post-credits scene.