Cannes 2026: Na Hong-jin’s ‘Hope’ Enters Competition With Fassbender and Vikander

A remote Korean village becomes the center of a growing mystery in Na Hong-jin’s Cannes-bound thriller. Teaser image released for Na Hong-jin's 'Hope.' Plus M /THR

Cannes 2026: Na Hong-jin’s ‘Hope’ Set for Competition With Fassbender, Vikander Leading Global Cast

Korean filmmaker Na Hong-jin is returning to the global stage.

According to The Hollywood Reporter, the director’s long-gestating thriller Hope has been selected for the main competition at the Cannes Film Festival, marking his first return to the Croisette in nearly a decade following The Wailing.

The project has been in development since 2017 and is widely considered Na’s most ambitious film to date—both creatively and financially.

Festival artistic director Thierry Frémaux described Hope as a film that “constantly changes genres,” running over two hours and telling a story unlike anything previously seen. That tonal fluidity aligns with Na’s track record, particularly with The Wailing, which blended procedural, supernatural horror, and psychological dread into a singular experience.

Hope also represents a shift in scale.

The film features a hybrid international cast, pairing Korean actors Hwang Jung-min, Zo In-sung, and Jung Ho-yeon with Hollywood talent including Michael Fassbender, Alicia Vikander, Taylor Russell, and Cameron Britton.

It’s Na’s first project told partially in English, signaling a broader international reach.

The story is set in a remote harbor village near Korea’s Demilitarized Zone and begins with a report that a tiger has appeared in the surrounding hills. What initially reads as a localized threat escalates into something far more complex, pushing the narrative beyond traditional genre boundaries.

That escalation appears to be central to the film’s design.

Na reportedly conceived the project from a single image that came to him in 2017, and has since developed it into a large-scale production—one that industry estimates suggest carries a budget exceeding $50 million, making it one of the most expensive Korean films ever produced.

Visually, the film is anchored by cinematographer Hong Kyung-pyo, known for his work on Parasite, Burning, and The Wailing. His involvement suggests a continuation of the atmospheric and visually precise style that has defined Na’s previous work.

Production is led by Na’s Forged Films, with Plus M Entertainment handling international sales and distribution, alongside UTA Independent Film Group managing North American rights.

The film is scheduled for a summer theatrical release in Korea.

Hope also carries significance within the Cannes lineup.

It marks the first Korean film to enter the festival’s main competition since Decision to Leave in 2022. Notably, that film’s director, Park Chan-wook, will serve as jury president for the 2026 festival—placing additional attention on Na’s return.

Na has steadily built a history with Cannes, with each of his films premiering at the festival in different sections, from The Chaser to The Yellow Sea and The Wailing.

With Hope, he enters the main competition for the first time.

And given the scale, cast, and reported ambition behind the project, it’s positioned as one of the more closely watched titles heading into this year’s festival.

Let us know your thoughts—does Hope feel like Na Hong-jin’s next evolution, or are expectations already set too high?