Na Hong-jin has directed four features in eighteen years, and every one of them has gone to Cannes. The Chaser (2008) rewired the serial-killer thriller around a pimp hunting the murderer of his missing women, and its remake rights sold to Hollywood before most of the cinephile world had seen it. The Yellow Sea (2010) sent a desperate ethnic Korean cab driver from China across the strait with a knife and a debt. The Wailing (2016) began as a rural police procedural and ended somewhere much darker, becoming an international hit and a modern horror landmark. HOPE (2026), his first feature in a decade, premiered In Competition at Cannes this May, the first Korean film in the running for the Palme d'Or since 2022, and drew a minutes-long standing ovation reported as the loudest of the festival. The epic, set in a coastal village near the DMZ, reunites him with The Wailing's Hwang Jung-min alongside Zo In-sung and Hoyeon, and is reported to carry the largest production budget in Korean film history; NEON releases it in North America this fall. NYAFF presents Na with the Daniel A. Craft Award for Excellence in Action Cinema and a full retrospective of his career with screenings of The Chaser (on 35mm), The Yellow Sea, and The Wailing.