Painter Youngsoo hears secondhand that his girlfriend, Minjung, has recently had (many) drinks with an unknown man. This leads to a quarrel that seems to end their relationship. The next day, he sets out in search of her, at the same time that Minjung has a series of encounters with strange men.
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PC. An essay on plausibility, written in this director's usual direct form, shuffling times, characters and scenes in favor of an Aristotelian credibility's negation. That is, by constructing in a naturalistic way its suspension, verisimilitude is organically interrupt and the game is sets off/up.
possessive love is fantastical. when you're no longer in possession of it it takes possession of itself and no intervention or willful action will change its shape. fantasy like this is subjective i guess and only becomes craycray confusing when you try to control it. this is my explanation for why this movie made very little sense to me at the time :)
... What we think love is. What we really know about love. How we imagine, handle love, or the lack of it... Hong Sang-soo once again illuminates an exhausted subject with his candor, wit and open eyes.
Hong continues in the slightly experimental vein he explored in Right Then, Wrong Now and the result is a film that is both intriguing and enthralling. A second viewing will probably be necessary to pick apart the ambiguities in the plot but the familiar deftness of Hong's comedy makes that an altogether welcome task.
Contains the usual musings about love and relationships that Hong Sang-Soo has accustomed us to, this time with a slightly surrealistic plot device but ultimately the film doesn't really add up to much. There's little development and the main actress isn't as magnetic as the role demanded. Also, the fantastical (and never explained) nature of the story doesn't allow the viewer to get invested in the characters.