In this review of Saltburn (2023), Hannah Smith examines the tension created between David Bordwell’s classical Hollywood narrative filmmaking structure and Tom Gunning’s cinema of attractions.

Na Hong-jin's Hope arrived at Cannes as the most expensive South Korean film ever made—a distinction that loaded the film with palpable anticipation. However, the movie falls short of justifying its price tag. What unfolds is all spectacle and little substance. Behind the excess, though, is an overreaching, unfinished work from an anxious filmmaker whose talent is still very much visible, and whose ambition may have overshot the runway.