Bless Hong Sang-soo and his subtle mindbenders. Not much happens in his films beyond talking, drinking, and smoking, but by the end you want to diagram them out. The dual structure of this one offers two subjective halves that, when taken together, create a more objective reality. (Not for nothing does it open on a shot of a yin yang). A film about men & women, artist & audience. A combination of Lynch and Rohmer.
The filmmakers most likely to attain something like perfection are those who speak to Heidegger's assertion that great poets are always working on the same poem, again and again. Hong Sang-soo is doing that if anybody is. Right Then, Wrong Now / Right Now, Wrong Then is his masterpiece. Everything has cohered. Two perfectly organic, offset regimes. A disquisition on how to be constituted by grace and the moment.
Fortunately that in contemporary cinema we can count on Sang Soo, with his parables about the derisive and the evanescent, built in a direct way, with a necessary variability of elocution and a permanent deconstructive latency, eminent derision. In a very simple way, his structures become complex and is returned to the viewer wether a drafting work, whether an intelligence that has been stolen from him.
Finally, Sang-soo reached the megalomaniac level of self-referentiality. Now we can move on from this egocentric banalization of mumblecore minimalism, a double panel that perceives life so analytically, innerved with self-evident moral outcomes in the form of hilarious intricacies.
Published by Next Projection
[REVIEW] 92/100 - Right Now, Wrong Then
Through this subtle yet powerful manner of storytelling, Sang-soo crafts perhaps his most personal and tender love story, while simultaneously offering perhaps his most lucid philosophical discourse on the matters of time and language.
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