"Either 1 Point or 10 Points"... Director Na Hong-jin's 'HOPE' Divides Audiences

[Anchor]

It is hard to recall another film that has sparked such sharply divided reviews. This is the story of director Na Hong-jin's film "HOPE." Opinions are especially split regarding its technical aspects, such as cinematography and computer graphics.

Reporter Lee Joo-hyoung takes a closer look.

[Reporter]

The audience response to "HOPE" seems to go beyond mere box office performance.

Ratings range from extreme opposites, starting from 1 point all the way up to a 10-point maximum.

The so-called polarization of opinions over "HOPE" largely stems from the film's technical aspects.

Those who praise it as a great entertainment film highly value its thrilling action cinematography.

The film brought together cinematographer Hong Kyung-pyo, who worked on "The Wailing" and "Parasite," along with XM2, an Australian specialized filming company.

Having participated in the "007" and "Mission: Impossible" franchises, XM2 utilized drone cameras and bike cameras to create an intense sense of speed and visual pleasure in "HOPE."

[Hong Kyung-pyo / Cinematographer for "HOPE": Camera movement was also important, so we kept the cameras moving almost without stopping.]

However, opinions remain divided over the CG, with some saying it is sufficient while others argue it falls far short.

Roh Chul-hwan, a professor who teaches film at a university, had this to say about the CG in "HOPE."

[Roh Chul-hwan / Professor, Department of Theater and Film at Inha University: It is true that HOPE failed to satisfy audiences at that point (CG). (However), if we look at how a director uses the technology of CG to make their imagination resonate with the audience, I do not believe HOPE is a failure at all.]

However, not everyone shares this view.

Ryu Gi-deok, a former vice president at a game company, sat down in front of his computer right after watching "HOPE."

[Ryu Gi-deok / CEO of Iromix (Former Vice President of Wemade): It just looked like a game to me. Rather than focusing on messages like in director Na Hong-jin's previous films, I thought it would be fun to turn this into a game, so I just made it for fun.]

The response to the video, which was quickly put together in an hour using AI, was explosive.

This shows that while there is heavy criticism regarding the CG, there is also intense interest.

The Academy introduced the Best Special Effects category in 1939, proving that film and technology are inseparable.

Modern audiences are accustomed to visual effects (VFX) technology and AI-generated videos that rival live-action.

They demand more sophisticated technology, and paradoxically, they are also searching for something human that technology cannot fill.

This is the topic that "HOPE," with a surrounding situation that has itself become a black comedy, throws out regarding the future of cinema.

(Photo courtesy of: Plus M Entertainment, Video Editing: Kim Byung-jik, Design: Kang Yoon-jung)
※ Please note: This article was translated by AI and may contain errors.