A regular on the international festival circuit, Hong Sang-soo is one of Korea’s most highly regarded contemporary directors. His mostly improvised, innovatively constructed films conceal rich layers of meaning beneath deceptively simple surfaces, and reveal a filmmaker with a unique, individual style. A rather notorious figure on the Seoul film scene, Hong has a fondness for alcohol that is almost as legendary as his talent for filmmaking. He’s been known to get familiar with his actors before shooting by taking them on drinking binges, and, for verisimilitude, the many drinking scenes in his films normally include actually drunk performers (who sometimes don’t remember these scenes after they’ve been shot).
Born in 1960, Hong began his film studies at Joongang University in Korea, then moved to the United States, where he received his BFA from the California College of Arts and Crafts and his MFA from the School of the Art Institute of Chicago. His debut feature, The Day a… read more
Oki's movie at the end of Oki's movie is one of the most genius use of filmmaking I have ever seen. Hong Sang Soo is one of the very few directors that lets me believe there actually is an undiscovered possibility in the medium of film.
To watch a Hong Sang-Soo is like admiring a painting: the first time you will pay attention to some elements, but, if you stay a little longer, or if you come back another day, you will notice new elements as important as the others. And the movies themselves seem to be the imagination of the person looking to the painting and imagining little lines of story to the people and objects inside that rectangle. In other words: his movies are the dynamical representation of the appreciation of a tableau.