Omar: The illogical settings in the film 'Hope' actually enhance immersion

Omar has shared his unique perspective on the controversy surrounding the film 'Hope.' Regarding the public criticism questioning the film's plausibility, Omar analyzed that since all the settings are unrealistic, attempting to apply logic is essentially futile.

While acknowledging that the film's settings are far removed from reality, Omar accepted them as a defining characteristic rather than a flaw. He noted that the forest setting, which evokes a European feel rather than Korea, was filmed in Romania, and pointed out that elements such as a detective carrying a shotgun or North Korean soldiers using AK47s in a 1980s Korean rural village are disconnected from reality.

A film so surreal it feels strangely comfortable

Addressing the voices criticizing the film's plausibility, Omar remarked, "If one or two things were strange, it would be a problem, but since everything is strange, it's actually comforting." He suggested that pointing out individual errors in setting is meaningless because the film's premise completely defies real-world logic—such as the scene where Jo In-sung, dressed like an American poacher, fires an AK47 while riding a horse. "What does that even have to do with reality? It wouldn't even be strange if Jo In-sung shot a blast of energy from his palms," he said, emphasizing the film's surreal atmosphere.

In particular, he interpreted the audience's reaction as having taken the "bait" intentionally thrown by director Na Hong-jin. He suggested that even the reactions of those getting agitated by the illogical progression and demanding logic might be part of the flow the director intended. Omar added that the bizarre atmosphere of the film can feel like a dream one has when exhausted.

A powerful pull similar to Cheon Myeong-kwan's novel 'Whale'

Omar compared the sensation of watching 'Hope' to Cheon Myeong-kwan's novel 'Whale.' He noted that just as 'Whale' features illogical developments and strange settings but possesses a powerful narrative force that draws readers in like a fairy tale, he had a similar experience. He evaluated that even amidst the breakdown of logic and settings, there was a palpable force pushing the story forward to the end.

He took a cautious stance on whether the film is a beautifully crafted work. Stating that he is not a die-hard fan with a deep understanding of Na Hong-jin's cinematic universe, Omar concluded his review by focusing on the film's intense impression and its gripping narrative power.