The married Bongwan leaves home in the dark morning and sets off to work. The memories of the woman who left weigh down on him. That day Bongwan’s wife finds a love note, bursts into the office, and mistakes Areum for the woman who left.
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Hong becomes more and more adventurous w/ structure and congruence, but he remains above all the contemporary filmmaker most emblematic of Heidegger's assertion that great poets keep writing the same poem. Hong's poems, of course, are about varieties of (often Soju-inflamed) interpersonal sloppiness and the intractable gulf between man and woman. He remains peerless in his clear-eyed assessment of the workaday cad.
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 antipode 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