damn! the way this movie lands--it is like you never knew you were floating; or is it falling! well suspended emotions can be so much stronger, even. that's a lot of korea. & the way 홍상수 associates you with 해원's experiences thoughts & emotions is so clean, smart & tasteful that i am dazed; i almost see birds flying around my head after this. best of his i've seen?!!?!??!?!
why do men do the things they do? why do we not know anything about her, when it is about her? why is she leeched by the men who are supposed to love her? why do i not give a fuck about this man? why is her teacher with her? why can they not seem to get their lives together? i didn't hate it, but i didn't care and it seems like most hang soo movies have this pattern. why does it seem like everything will repeat?
Fascinante desde el título, uno que parece remembrar a los clásicos melodramas encabezados por mujeres complicadas, espíritu libre, herméticas, con temple externa, pero fragilidad interna. A su paso, la figura masculina insegura, pasional, emotiva. No posee esa teoría femenina, la que continuamente intenta renovarse o simplemente no dejarse absorber a totalidad. Aquí la personaje femenina es un individuo a la deriva.
As ever with Hong, there is more here than meets the eye. Unless there's even less, and the relentless banality of his thematic repetitions and his stilted, stammering dialogue isn't, in fact, rendered ingenious by the employment of linear narrative-scrambling devices of the sort so many of us love to decipher (or overdetermine). From film to film I scratch my head and change my mind. Together we dither deathward.
It's not readily apparent since Hong's method is so subdued, serene, and "realistic", but this romantic drama is actually as much of a "mindfuck" movie as Primer or Mulholland Dr., where shifting layers of dreams and reality bring past, present, and future together in an inward character study. Not a drama, but a reflection of one, a puzzle surrounding a valuable message: "It will get better."