The Korean-language thriller “Hope,” directed by Na Hong-jin, opened in 1,500 theaters across the United States last month, marking the largest domestic release for a Korean film since “Parasite.” The decision by indie distributor Neon to launch the film on such a broad scale represents a significant gamble on a foreign-language movie, reflecting growing acceptance of subtitled films among American audiences and the rising popularity of Korean content following the success of titles like “Parasite” and Netflix’s “Squid Game.”

Neon acquired North American and English-language distribution rights to “Hope” prior to its world premiere at the Cannes Film Festival this spring. The studio aimed to position the film as a major action thriller, mirroring its big-event status in South Korea. “Hope” features a narrative centered on a group of characters battling a creature terrorizing a Korean village, and includes appearances by Alicia Vikander and Michael Fassbender.

Elissa Federoff, Neon’s chief distribution officer, emphasized that subtitled films need not be confined to niche or art-house markets. She described “Hope” as a blockbuster with the potential to attract both cinephiles and a broader moviegoing audience. The film has so far earned over $8 million domestically and $45.6 million worldwide against an estimated production budget of at least $45 million.

Neon expected to draw significant interest from Korean and Korean-American viewers, but audience data from PostTrak revealed the film also resonated strongly with Latino audiences, who made up 27 percent of ticket buyers. Such a wide domestic release is rare for foreign films, which typically open in limited runs on fewer than 100 screens. David A. Gross, a film industry analyst, described the film’s box-office performance as “very successful” for a foreign-language release, although it falls short of the mainstream breakthrough achieved by “Parasite.”

Neon’s experience with Korean cinema extends back to its distribution of “Parasite” in 2019. The Bong Joon Ho-directed film ultimately screened on 2,000 theaters at its peak and earned over $53 million domestically and $263 million globally. It broke new ground as the first non-English-language film to win the Academy Award for Best Picture, changing perceptions about the commercial potential of foreign films in the U.S. market.

Federoff suggested that “Hope” and similar films are helping to broaden what studios and audiences consider mainstream fare. She noted that studios often underestimate the accessibility of international films, a perception she strongly contests. While “Hope” has not matched the widespread domestic success of “Parasite,” it underscores the importance of taking risks on diverse content to sustain the flow of original filmmaking and expose mainstream viewers to varied storytelling styles.

The growing popularity of indie and international films among younger audiences, who are more accustomed to subtitles, may further boost the prospects for foreign-language releases. Federoff argues that expanding the theatrical presence of such films could not only enrich creative filmmaking but also maintain audience engagement in cinemas.

“My hope is that studios start to trust their audience and respect their audiences a little bit more,” she said. “There’s a lot of incredible international cinema out there that should be seen by everybody.”