Digital. The main characteristic of Sangsoo is his persistence in a narrative cinema with subtle fictional variations that has also its own material existence, because there's a close dialectic with narration forms and narrative: his films dare to be within representation. There is a loneliness that links, in continuity, the director with actors and spectators, in a loose comedy, which is the stage the world is.
Fighting, Crying, Black and White. Is this an antipod of Claire's Camera? What a range Sang-soo has. Dialogue driven conversation scenes with such passion and life. Philosophy and poetry intertwine. Life and reality and everything in between.
81/100 - Great.
The digital looking cheap pans and zooms, and a music played from old cassette player, is not new in hong so's films, but it has done with overload this time, all that added to the humor factor, i was giggling on every cry, but also it made me think of set-coms feels, that relies on laughter as main factor, i loved the new girl character tho, the movie had good conversations as always ,but something was off beat.
De vuelta al blanco y negro, Hong nos entrega una película-llaga en la que cada escena evidencia la perfección de su sistema. Maestro en el arte de filmar conversaciones, aquí su estilo se vuelve un tanto más agresivo al maniobrar diversos níveles emocionales de sus personajes sin nunca cortar, haciendo de cada plano una lucha de diversas energías y contradicciones. Es así: su cine no puede más que seguir creciendo.
it's like Virgin Stripped Bare, where two stories (maybe three) questioning the each other's authenticity, but masterfully arranged into a straight narrative with Hong-ish subjective and unreliable narration of each sequences. Hong post-2010's films are more daring, where a sense of reality is almost untouchable, in exchange for his trademark's dry humour
Why does he in the end make sure to mention that he lived with the other woman in a house with 2 rooms?Did he think it wasn't obvious they were sleeping together?The cowardly condescendence in a seasoned revisionist..the fact that an indeterminate time later he forgot all about the new girl's answers (and forgot about her - some will say he is pretending, maybe not me)but asks the same questions when seeing her..▽
episodes jumping back and forth in time; heated exchanges over Korean food and soju; mistaken identity; a tangle of human relations in lovely monochrome; a young woman reading in the back of a cab, snow flurries fill the night outside; memory is fickle, but the world is a blessing.
There's nothing particularly new here from Hong Sang-soo but that's OK. The love triangles are getting increasingly imaginary and in The Day After, a particularly cruel ruse leaves one poor woman a scapegoat for a man's philandering. Even when he's not hitting the highest notes, Hong doesn't make bad films.