Digital, rewatched. False diary, intermittent diary, constant derision. The first film i saw of this filmmaker and one of the rare ones that premiered in Lisbon, now after the knowledge of most of his films, surpassed yesterday's surprise by the reiteration of his constant, brilliant, and very particular, ironic demiurgy. Another of the contemporary filmmakers that interests me the most.
Another Hong Sang-Soo masterpiece and a film that only he could make. Night and Day is a film of deep, complex, and adult emotions and situations; a film where the protagonist is left stranded in a foreign world and left to fend for himself; or so it seems until the film's tumultuous and perplexing ending that is straight up Bunuel-esque. Just brilliant.
Dozens of mint green title cards start-and-stop this casual epic, shaping it so that time ticks along on an endless rotation of days. A flurry of actresses are spun in and out of this winding narrative, all somehow in the orbit of a befuddled, floppy protagonist. His absolute narcissism yields an array of hilariously awkward and painfully inept scenarios that play out in equally quizzical cinematographic flourishes.
"I want to sleep with you, you little brat!" This could be a Woody Allen movie with the way it's put together, not to mention the older man/younger woman scenario. I wish he would stop with his eccentric camera moves. Hate the mini-zoom. The pan-away was a little more effective, but both techniques remove you from the story.
this movie is like a mixture of a stress induced feverish nightmare and a wet dream in that it is full of sex but is moments chock full of awkwardness this movie addresses the relationship between men and women in the bedroom and out whith lots of moments that you can find funny while never losing its focus
Ich weigere mich, die hier auf MUBI zu diesem Film vertretenen Interpretationen von Pariser Flaneuren oder typisch männlichen/weiblichen sexuellen Verhaltensweisen anzuerkennen, finde sie im ersten Fall schlichtweg falsch, im zweiten Fall eine Überschätzung. "Much Ado about Nothing", denke ich, und lege den Film ab, so leichtfertig wie er dahergekommen ist: ins Archiv, wo sich auch die gemalten Kitschwolken befinden!
Here, Sung-nam is deeply and profoundly lost. Hong's clear and consistent gaze only intensifies our scrutiny as he engages in a series of stunted relationships, full of false assurance and empty words. His baser fantasies are documented in dream sequences while his actual misdeeds are implied in ellipsis. What emerges is a beautifully rendered yet mildly off-putting portrait of male narcissism.