A dream is a point of view you can see all the complexities of life collapse around an ordinary person a fool who gives up his inventions his love his life that to pick up another he would have claimed that the one he has now is false life in a charmed circle an elaborate mirror of clumsy bourgeoisie where everyone is bourgeoisie; overrun by jealousy and emotional expense instead of pressing human affairs.
I couldn't stop watching this, even as it slowly and awkwardly meandered its way in and around Paris, then back to Korea. You have to admire Hong's patience with his characters, no matter how absurdly juvenile they may be. The payoff is painfully funny. At one point, I thought I saw Rohmer's spirit peaking through the clouds.
La difusa y tramposa línea que hay entre el amor y el deseo es retratada en esta película con mucha honestidad, con un tono discreto que cabalga entre el drama y la comedia. El estilo es de una sencillez admirable, heredero de ciertos trabajos de Truffaut y Rohmer.
This may be the funniest film of the last decade. And not only that, but Hong is developing his own trademark camera work, one that is as distinct, albeit much more restrained, as that of Fassbinder. Hong is only one of a handful directors working today who has not yet made a single bad film.
I remember watching this film a couple of months ago. Although fashionably long, I take great joy of watching characters that have absolutely nothing to do but see were the day takes them -at least in the beginning of the storyline-. I also enjoyed Hong Sang-soo's ocational comeding punch. I think I have to see this and Woman on the Beach again. This director has a sharp perspective on relationships.