For two decades, South Korean auteur Park Chan-wook nurtured a vision to bring “No Other Choice” to the screen, a black comedy thriller that finally premiered at the 82nd Venice Film Festival on August 29, 2025. Adapted from Donald E. Westlake’s 1997 novel “The Ax,” the film follows Man-su, a middle-aged man abruptly fired from his 25-year tenure at a paper company, who resorts to extreme measures—eliminating rival job candidates—to secure employment and protect his family. At a press conference in Venice, Park, speaking through a translator, reflected on the project’s long gestation. “We all harbor that deep fear of employment and security,” he said, noting that the story’s universal resonance kept him committed. “No matter who I told over two decades, they’d say, ‘It’s such a timely story.’ That gave me the confidence it would eventually get made.” The film’s journey, marked by a star-studded cast and a biting satirical edge, underscores Park’s enduring ability to blend dark humor with profound human truths, cementing its place as a highlight of the festival season.
Park, a titan of Korean cinema renowned for “Oldboy,” “Thirst,” and “The Handmaiden,” as well as his producing work on “Snowpiercer,” returned to Venice’s main competition for the first time since 2005’s “Sympathy for Lady Vengeance,” which won two awards. When asked why it took 20 years to bring “No Other Choice” to fruition, Park’s answer was succinct: “Money.” He elaborated, “It’s not that we didn’t have any budget, but I needed a budget I felt was sufficient. After all that time, I was able to assemble this amazing cast.” The ensemble, a who’s-who of Korean talent, includes Lee Byung-hun (“Squid Game”) as the desperate Man-su, Son Ye-jin (“Crash Landing on You”) as his resilient wife Mi-ri, alongside Lee Sung-min (“Handsome Guys”), Yeom Hye-ran (“The Glory”), Cha Seung-won (“Believer 2”), Yoo Yeon-seok (“Hospital Playlist”), and Park Hee-soon (“The Policeman’s Lineage”). Most attended the Venice press conference, where Lee described working with Park as a “dream,” calling the film one of the director’s “most commercial” efforts. “Any Korean actor would jump at the chance without a second thought,” he added, emphasizing Park’s magnetic pull in the industry.
The film’s roots trace back to 2005, when Park first encountered Westlake’s novel, previously adapted by Costa-Gavras as the 2005 French film “Le Couperet.” Initially envisioned as an English-language project, Park collaborated with co-writers Lee Kyoung-mi, Lee Ja-hye, and Don McKellar, infusing the story with Korean sensibilities while preserving its darkly comic core. At the 2019 Busan International Film Festival, Park called it a “lifetime project,” aiming to craft it as his masterpiece. Principal photography began in August 2024 and wrapped in January 2025 after five months, with Neon securing North American distribution and Mubi handling rights in multiple regions, signaling confidence in its awards-season potential. The film’s festival run is robust, opening the 30th Busan International Film Festival on September 17, 2025, and screening at Toronto, New York, and Cinéfest Sudbury, with a South Korean theatrical release set for September 24.
Park’s fascination with “The Ax” stemmed from its incisive portrayal of an ordinary man crushed by societal pressures, a theme that resonates with his philosophical background from Sogang University and his love for literary giants like Zola and Philip Roth. “The book brilliantly described how an ordinary man is cornered by the social system,” he said at a Busan press event, highlighting its “intricate psychological mechanisms” and “darkly absurd humor.” This blend of heartbreak and hilarity defines “No Other Choice,” which Park sees as a commentary on modern Korea’s economic anxieties, much like his earlier works explored vengeance and desire. The film’s Venice debut, the first Korean entry in the competition since Kim Ki-duk’s 2012 Golden Lion winner “Pieta,” positions it as a potential Oscar contender, following the path of Bong Joon-ho’s “Parasite.”
Beyond its cinematic ambitions, the film’s journey was not without external drama. Park and co-writer Don McKellar faced controversy when they were expelled from the Writers Guild of America for allegedly working on HBO’s “The Sympathizer” during the 2023 strike. Park denied the claims, stating, “I have never violated any rules,” and chose not to appeal to focus on “No Other Choice,” then in post-production. McKellar called the WGA’s actions “intentionally undemocratic” and a “scare tactic,” but the dispute didn’t overshadow the film’s momentum.
When asked about his career should the film industry falter, Park remained defiant. “I don’t think the art of film will shrink,” he said. “If theaters fade, I’ll make films on my smartphone. I’ve done it before.” This resilience mirrors Man-su’s desperate ingenuity, reflecting Park’s belief in cinema’s enduring power. With its stellar cast, sharp social critique, and Park’s signature mix of elegance and brutality, “No Other Choice” is poised to captivate audiences, proving that even after 20 years, a story worth telling finds its way to the screen.
The Pop Blog general news and updates, mostly from press releases and conferences.