Review: Na Hong-jin pushes genre cinema to its limits in ‘Hope’

CANNES: “Hope” arrives 10 years after South Korean director Na Hong-jin’s “The Wailing” premiered at the Cannes Film Festival in the competition section in 2016. Since “The Chaser” in 2008, Na’s cinema has always been built on a kind of controlled action-driven collapse in stories that begin within recognizable genre territory, before spiraling toward paranoia and grotesque comedy. And with “Hope,” Na pushes this tendency further than anything he has done before, as the movie becomes an experiment of how much movement, absurdity and tonal instability a film can absorb.

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