First clip from Na Hong‑jin’s HOPE teases buyers and critics ahead of Cannes

A Cannes clip is a tiny thing. But for a movie like HOPE, it’s basically a market event. On May 10, the festival released the first official footage from Na Hong-jin’s new film, one day before the 2026 Cannes Film Festival opens on May 12. That matters because HOPE is not just another premiere — it’s Na’s first film in 10 years, his first Cannes Competition entry, and one of the biggest Korean sales titles at the festival this year. ### What’s in the clip? The footage is short — about 1 minute and 31 seconds — but it tells you a lot about the movie’s surface and mood. Hwang Jung-min’s police chief and Zo In-sung’s younger local arrive after hearing reports that a tiger has been spotted near the village. The setup sounds almost folkloric, but the scene plays with dread rather than action, which fits Na’s habit of starting with something concrete and then letting it turn uncanny. (festival-cannes.com) ### Why does that matter to buyers? Because buyers are not just asking whether a film is “good.” They’re asking what kind of film it is, who they can sell it to, and whether the tone matches the package. HOPE already came into Cannes with a huge amount of heat — Korean stars Hwang Jung-min, Zo In-sung, and Hoyeon, plus Michael Fassbender, Alicia Vikander, Taylor Russell, and Cameron Britton. But a cast list is one promise, and actual footage is another. (sbsstar.net) The clip helps answer the real commercial question: is this prestige sci-fi, horror, action, or some Na Hong-jin hybrid that refuses clean labels? ### What do we know about the movie itself? The official setup centers on Hope Harbor, a remote village near the Korean DMZ. A report of a tiger sends the town into panic, but the police chief discovers something much stranger. Cannes chief Thierry Frémaux had already teased that the film runs more than two hours and keeps changing genres, which is a very Na Hong-jin description. The runtime now circulating is 160 minutes. (screendaily.com) ### Is this already selling? Yes — and that’s a big part of why the clip matters. Mubi bought rights for Latin America, Italy, Spain, Germany, Austria, Switzerland, and Turkey ahead of the world premiere. Neon already has North America, plus the U.K., Ireland, Australia, and New Zealand. So the market is not waiting for the first review to decide whether HOPE is worth betting on. The early footage is more about sharpening confidence and helping the remaining territories price the risk. (screendaily.com) ### Why is Na Hong-jin such a draw? Because he has a very specific reputation. The Chaser, The Yellow Sea, and especially The Wailing made him one of the most admired genre directors working out of Korea. But he hasn’t released a feature since 2016. HOPE has been in development since 2017, and trade coverage has framed it as one of the most ambitious Korean features ever mounted, with reported costs north of $50 million. That gap — 10 years without a feature — is exactly why even a short Cannes clip lands like news. (screendaily.com) ### What is the clip really signaling? That HOPE looks controlled, eerie, and legible enough to sell — but still weird enough to feel like an event. That balance is hard. Too opaque, and buyers get nervous. Too conventional, and the aura disappears. This first footage seems designed to thread that needle. It gives you stars, atmosphere, and a concrete hook — the tiger report — without explaining away the mystery. (hollywoodreporter.com) ### So what happens next? The real test starts when Cannes screenings begin and critics finally see the whole thing. A 91-second clip can create appetite, but it can’t prove that a 160-minute, genre-shifting film actually holds together. Still, HOPE now arrives on the Croisette with something valuable already in place — not just hype, but a visible shape. (festival-cannes.com) ### Bottom line This wasn’t just promo. It was Cannes and HOPE’s sales team showing the market that Na Hong-jin’s long-awaited return is real, finished, and ready to be judged. (festival-cannes.com)