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Few actors throw themselves at the impossible the way Jo In-sung does. He runs, hangs on, endures and throws his body into action. In director Na Hong-jin's new film 〈Hope〉, Jo In-sung delivers raw, unpolished action, exuding a wildness and animal instinct as he faces an extraterrestrial...

※ This interview with Jung Hoyeon of 〈HOPE〉 continues from Part 1. Director Na Hong-jin is reputed not to compromise on set. What was it like to experience his filming process firsthand. As a relatively new actor, I felt his unwillingness to compromise was a blessing.

A Meeting of Masters Set to Rattle the Landscape of South Korean FilmA massive forum for a renaissance in South Korean cinema finally lifts the veil. For Na Hong-jin’s SF blockbuster 'Hope', the director’s long-awaited return after a decade of silence since 'The Wailing', world-renowned masters...

“All tragedy begins with perspective. ” Director Na Hong-jin wrote that line in the director's note for 〈Hope〉. On July 15, the director's new film 〈Hope〉, invited to compete in the competition section at the 79th Cannes Film Festival, is set for release.

Few Korean films this year have arrived with expectations as high as 〈Hope〉. The film 〈Hope〉 has, true to its name, been framed as a much‑needed sign of hope for the Korean film industry and carries enormous expectations. Each of those factors has helped make the film a major draw.

Director Na Hong-jin said he turned to aliens in 〈Hope〉 after exploring supernatural beings in 〈The Wailing〉 (2016). Speaking with Cineplay in Jongno District, Seoul, on the afternoon of the 7th, director Na Hong-jin discussed the release of 〈Hope〉 and the story behind the film.

A massive ocean wave in the Pacific awakens in the breath of live action after 10 yearsDisney Animation’s landmark masterpiece 'Moana' has returned after a decade-long wait as a spellbinding live-action film. Hitting screens on Aug.

Netflix unveiled its Netflix Original series 〈​Gas Human〉 worldwide on July 2. Taking its premise from Toho’s legendary tokusatsu film 《​Gas Human No. 1》 released in 1960, the new series has been reimagined from scratch as a fully original story spanning a total of eight episodes built on the...

※ 〈Shadow Child〉 director Yu Eun-jeong interview continues from Part 1. 〈Shadow Child〉 recalls your earlier film 〈The Night's Door Opens〉. Both films depict death as a dark realm, yet each also takes a fundamentally affirmative view of existence — I saw similar imagery running through both.

Even watching it again is surprising. 〈Don’t stop the camera. 〉(2017) is the case in point. With a modest production budget of 3 million yen (about 28. 5 million won), the film—made as a workshop project and initially screened in two theaters—went on to rake in a whopping 3 billion yen (about 28.