CANNES, France— Na Hong-jin's films are not difficult to love: they are as worthy of obsession as the rigor and style with which they are made. His 2008 debut, “The Chaser,” found a new feverishness in the post-Fincher serial killer thriller. “The Wailing” somehow added ghosts, demon-possessed children, and ink-black crows to the mix with an almost crazed sense of spectacle.
That was 10 years ago. Na, 51, now finds himself on the other side of a project that has consumed him for years, a sci-fi action movie called “Hope” that arrives with expensive CGI, a pair of A-list stars (Michael Fassbender and Oscar winner Alicia Vikander) and James Cameron-sized franchise ambitions. It will undoubtedly make Na's dark humor-laden brand more global, even if it takes him out of the cult niche that has nurtured him to date.
Cannes is an unlikely place to release “Hope.” That could be seen as a sign that the festival's growing accommodation to big blockbusters doesn't need Hollywood. Na sits in the corner of a seafront lounge on the Côte d'Azur on a glorious midday, with the sky an almost abstract blue. He absentmindedly tugs at the knob. Its world premiere is tonight.
Neon, the distributor currently enjoying a six-year Palme d'Or winning streak, will release “Hope” in the United States sometime after its summer run in Na's native South Korea. The following conversation has been edited for length and clarity. It also contains major spoilers.
A scene from the movie “Hope,” directed by Na Hong-jin.
(Neon)
When did you realize you had a great sci-fi movie about alien monsters in you?
The idea came to me in 2017 in Seoul. The premise began with someone watching the news in a restaurant or small restaurant. It was that image I had in my head. So I began to develop that initial image in more detail. In 2018, I was able to write my first draft.
“Hope” recalls several classics of the genre, from “Jaws” and John Carpenter films like “The Thing” to something more local like Bong Joon Ho’s “The Host.” Were they inspiring to you?
I had to look up every genre film I could find, including the ones you mention, before I started filming. And, as I hope you noticed, I was looking at more pre-2000 movies and tried to reflect that look.
It sounds like you're using Cannes as a moment to pivot or reinvent yourself. Is that intentional?
I didn't intend this to be a turning point in terms of style or direction to follow. I never thought of it that way. What I really thought about was how to tell this story in a way that was accessible and entertaining to people.
Why did you set the story in the demilitarized zone?
If we look at it from a universal perspective, what happens in this most miserable, humble, small and insignificant space potentially creates an impact that can last infinitely. I don't think any of the characters in the movie do anything with malice. I guess the underlying story I want to tell is that there is no reason for there to be bad intentions behind anything, but innocent acts can turn into something tragic.
Michael Fassbender and Alicia Vikander are wonderful surprises in the film as quite worthy aliens. What brought you to them?
When I was casting the alien roles, I had a larger story in mind. I don't know if there will be a sequel after this one, but if so, that sequel will focus on them. Therefore, it was very important for me to choose the right actors. We asked them to learn this made-up alien language, which they prepared and came to set knowing it.
How important is comedy and releasing tension with laughter to you?
Very. I try to think it through and if it turns out the way I expected, I'm really excited. I tried to incorporate it in many places.
Much of the film feels like a virtuoso chase sequence, with people running down the road and guns firing. But it took me a minute to realize that the more interesting question is: Who is chasing? Is “Hope” meant to make us examine our own violence?
Yes, very much. And two of the main chase scenes were designed so that what starts out as fair somehow becomes unfair. I wanted the action to put that transition in perspective.
You've premiered at Cannes before but, in some ways, it seems like the wrong festival for a film like this. You laugh because I think you agree with me.
It goes without saying. I'm incredibly nervous. And I feel very grateful that you treat me with such kindness and delicacy.
A scene from the movie “Hope,” directed by Na Hong-jin.
(Neon)
Why did it take you 10 years to make this film?
There was a pandemic in the middle of it. But except for the pandemic where everything stopped, I was working hard before and after. It still took so long. I'm a little worried too, like: How did this happen?
With “Hope” do you say goodbye to the filmmaker you once were?
You are welcome. Throughout the entire process of making this film, I was thirsty for blood. He was thirsty for blood. I already have another script written.
And maybe now it will go faster because there will be no pandemic. Do you hope this film will have an impact on the Korean film industry?
It's not my place to say that. I'm not sure. I want things to be freer.
Would it be a mistake to read this movie? as An allegory for what is happening in the world now? Is it a request for understanding?
I do not consider it a request for understanding. Rather, hopefully people can relate to it and be empathetic to the story and understand it for themselves. Maybe there's something else, but you take what you want from that.
Your black humor breaks out from time to time. Did you set out to try to preserve that?
Well, you can't do something like this without having that. It's not fun.
This doesn't feel like an “Avatar” style movie. There's an openness to it, a sense of exploration. Do you believe in heroes?
I do believe in heroes, but, as I tell in the story, anyone can be a hero.
