Hong, nuevamente, entrelaza sus discursos, sus narraciones, para dar lugar a nuevos discursos y narraciones. Siempre es interesante ver cómo todo se confunde y se mezcla, y que el aparente "más de lo mismo" es precisamente más y más. Ningun relato es fijo, sino que está sometido a la incertidumbre humana (la memoria frágil, las confusiones, las palabras). "I do not know what tomorrow will bring".
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.
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
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.
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..▽
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.
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.
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.
A lightly comic film about a traumatic day that sees the same woman--Song Areum--attacked by her boss's wife and fired from her job to make room for her boss's lover. 'The Day After' uses this trauma to place into conflict two different conceptions of forgetting in time: Christian forgiveness (Song Areum) and absentminded unfaithfulness (her former boss). Somehow, both involve taking refuge in beauty:a book, the snow
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.