In No Other Choice, the true threat to jobs is this character.

Park Chan-wook’s twelfth feature film, *No Other Choice*, kicks off with Man-su (Lee Byung-hun) hosting a barbecue, embodying the quintessential family man he strives to protect throughout the film. The narrative unfolds with a blend of humor, emotional depth, and sharp social commentary, all while weaving in a series of murders. After losing his job at a paper company, Man-su realizes that his best shot at employment is to eliminate the three other candidates vying for the same position.

Based on Donald Westlake’s novel *The Ax*, *No Other Choice* brilliantly captures the relentless anxiety of navigating an economic landscape that exploits workers. It highlights the grim irony that while a corporation can declare someone redundant as a strategic move, a person doing the same is labeled a criminal.

With this film, alongside his previous works like *Oldboy* and *The Handmaiden*, Park demonstrates a keen understanding of the intertwined nature of tragedy and comedy. The film explores the tragic necessity of work and the absurd lengths to which Man-su goes to solve his dire situation.

In a conversation with Park, he reflects on his connection to the source material, the role of artificial intelligence, and his recovery process after completing a film.

This interview has been edited and condensed.

**Have you ever been fired from a job?**
Park Chan-wook: Thankfully, I’ve never experienced that. It’s a common occurrence in our industry, and I’ve been lucky to avoid it. However, there have been many moments filled with anxiety about job security. During any project, differences in opinion often arise between the studio and the producers. When I stand firm on my vision, I know I’m risking that very possibility.

When a film underperforms, the fear of not finding future work or securing funding for my next project looms large. This anxiety isn’t just tied to box office results; it’s a constant companion throughout the filmmaking process, starting from the planning stages and intensifying if the film doesn’t succeed.

**You mentioned that you first encountered the source material through your love for the film *Point Blank*, which you consider your favorite noir. How did you discover it, and are there other Westlake novels you’re interested in?**
*Point Blank* is directed by John Boorman, a filmmaker I admire. I first saw *Excalibur*, which was my introduction to his work. I’ve always been a fan of Lee Marvin, so I was eager to see *Point Blank*. However, it was hard to access in Korea for a long time, so I only watched it later.

As for Westlake, not many of his books are translated into Korean, making it a rarity that *The Ax* was. I’ve only read a handful of his works.

**You’ve been trying to make *No Other Choice* for 16 years and initially pursued Hollywood. Why?**
Since the novel is set in America, I thought adapting it into an American film was the best route. By the time I had made *Oldboy*, *Thirst*, *Lady Vengeance*, and *Stoker*, I felt confident about tackling a project in the U.S.

**What feedback did you receive during those early years?**
In 2010, we secured the rights and began actively pursuing the project. We initially met with French investors, even though it was meant to be an American film. Thanks to Michèle Ray-Gavras, who was among our producers, we connected with various studios across France and the U.S.

From that point, I received offers that were consistently below my expectations, which made it impossible to accept them.

As for studio notes, the main concern was whether audiences would believe that Man-su would resort to murder after losing his job. They questioned how I would make that believable. Additionally, humor is subjective; some found certain parts funny while others did not, which presented its own challenges.

**You mentioned there are Easter eggs in the film. Can you share more about them?**
I can’t guarantee that the framed photo featuring a Santa Claus costume is clearly visible, but we did create it specifically for the film. We dressed the entire family and took pictures for that frame. It will definitely be included in the extended cut for the Blu-ray release.

Rather than just Easter eggs, these details help create a believable world for the actors, allowing them to immerse themselves in their roles. The more attention paid to props and spatial elements, the better the actors can connect with their characters.

**AI appears at the end of the film, which I assume wasn’t part of your original concept. When did you decide to include it?**
If this had been made into an American film, that plot point wouldn’t have been possible. The lengthy development process allowed for the incorporation of AI. Any director tackling a story about employment or unemployment would be remiss not to address AI.

By the end, Man-su’s family realizes what he has done for them. While he’s uncertain if they truly understand, the audience does. His actions, intended to support his family, ultimately lead to its downfall. This reflects the situation with AI, as he eliminates human competition only to face a more formidable adversary in the workplace. He will likely lose his job again, raising the question of what it was all for.

Thus, the inclusion of AI was a significant creative addition to the film.

**What are your thoughts on the use of AI in filmmaking? Would you consider using it in your own projects?**
I hope that never happens. It’s tough for young filmmakers today. If technology allows them to create films at a lower cost, who could stop them from pursuing that?

**What question does *No Other Choice* pose?**
For those who have reached the middle class through their own efforts, the thought of losing that status is daunting. I can’t imagine how difficult it would be to accept such a loss.

Of course, that doesn’t mean I would resort to murder, but it’s an impossible situation. The struggle to provide for a child’s needs, like private cello lessons, can push someone to their limits. I wanted to create a space for viewers to reflect on what they might do in such a scenario, not just to criticize Man-su but to explore the implications of his situation.

**What was the most challenging time in your career, and how did you bounce back?**
The toughest period was when my first two films flopped at the box office. The gap between my first and second films, and then between the second and third, was particularly hard. I had to pitch my screenplay repeatedly, much like Man-su with his resume, facing rejection often.

At that time, I was married with dependents, so I turned to film criticism to make ends meet. While it’s a respectable profession, it wasn’t my passion, and I struggled with that. Watching others succeed while I was stuck analyzing their work was painful, but I had no other means to survive.

**What’s next for you?**
I have two projects lined up. One is a Western that I’ve revised multiple times, and the other is a sci-fi action film for which I’ve developed a detailed treatment but haven’t written the script yet.

**How do you recover after finishing a film?**
Right now, I’m traveling with Lee Byung-hun, so I might enjoy a glass of wine with him. He has a serious appreciation for wine, so I’m sure it will be something good.

**Do you have any advice for aspiring filmmakers?**
In film school, you’ll learn from instructors and successful directors, and if you’re a genre fan, you’ll study conventions. That’s all valuable, but the most important thing is to find your own voice. Be honest with yourself and tell the story that comes from within. Spontaneity is key. Don’t chase trends or popularity; focus on what genuinely resonates with you.

It’s easy to say, but putting it into practice is a different challenge.

*No Other Choice* hits select theaters on December 25, 2025, with a broader release planned for January.