Daily Archives

October 25, 2018

#BlockbusterBeat by Daniel Gorman Film

Halloween | David Gordon Green

October 25, 2018
halloween-2018-image-jamie-lee-curtis

Whatever its flaws (and they are myriad), director David Gordon Green’s Halloween is certainly a good looking film: Cinematographer Michael Simmonds mimics John Carpenter’s 1978 original through subtle use of an autumnal palette, and by allowing slightly overcast and gray skies to appear without excessive color correction. Nighttime scenes have an almost chiaroscuro effect here — large swaths of black are punctuated, jarringly, by car headlights and flashing police sirens. The effect creates a pleasing contrast between warm yellows and cold…

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by Paul Attard Retrospective

Hill of Freedom | Hong Sang-soo

October 25, 2018
Hill of Freedom

For Hong Sang-soo, a filmmaker who usually favors fairly taut narrative structures, Hill of Freedom is something of a departure. The film operates in a mode of consistent fluctuation, with changing languages, temporal discontinuity, and an overall uncertainty as to the relationships’ trajectories. This is, in large part, due to a deceptively clever framing device: South Korean Kwon (Seo Young-hwa) is first seen reading letters left by her Japanese lover, Mori…

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by Sean Gilman Retrospective

Our Sunhi | Hong Sang-soo

October 25, 2018
our s

Our Sunhi is the culmination of a cycle of Hong Sang-soo films, each starring actress Jung Yoomi, about aspiring women filmmaker with a weakness for strong drinks and a tendency to find themselves in the middle of love triangles between older and younger men. All the men enamored with the characters Jung Yoomi plays all seem unable to see her characters as people, blinded as they are by their own perceptions of her beauty, her innocence, her artistic taste, etc.…

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by Tony G. Huang Retrospective

Nobody’s Daughter Haewon | Hong Sang-soo

October 25, 2018
Nobody's Daughter Haewon 5-2000-2000-1125-1125-crop-fill

Nobody’s Daughter Haewon is an exemplary minor film, shaped more by its incidental pleasures than any grand design. It owes much of its charm to actress Jung Eun-chae, as Haewon; Jung’s natural exuberance is used to energize Hong’s characterization of Haewon, who appears to us as a dreamy, childlike romanticist hiding her passion and sincerity…

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by Paul Attard Retrospective

In Another Country | Hong Sang-soo

October 25, 2018
In Another Country

In Another Country signals something of a shift in the approach of Hong Sang-soo’s films, one in which the director’s generally economically modest production methods begin to become more consistently transnational. The film centers on a woman played by French actress Isabelle Huppert, who speaks English throughout. Its narrative is less knotty than some of Hong’s others, briefly setting-up a frame story — there are three different screenplays, all written by Won-joo (Jung Yu-mi)…

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by Johnny Han Retrospective

The Day He Arrives | Hong Sang-soo

October 25, 2018
the day he arives

Hong Sang-soo’s monochromatic, soju-soaked, metaphysical odyssey, The Day He Arrives, explores the question of whether or not one can ever really escape the past, but as considered through the filter of Hong’s signature narrative tropes. Over the course of a three-day visit to Seoul, Seong-jun (Hong regular Yoo Jun-sang), a retired filmmaker who now teaches at a provincial university, goes to the same bars with the same group of acquaintances and friends…

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by Sean Gilman Retrospective

Oki’s Movie | Hong Sang-soo

October 25, 2018
Oki's Movie

“Things repeat themselves with differences I can’t understand,” proclaims Oki (Jung Yu-mi), the director of the fourth, and final, film-within-the-film that comprises Hong Sang-soo’s 2012 feature Oki’s Movie. She has attempted to compare and contrast two relationships that she had — one with a professor (Mun Seong-kun), one with a fellow student (Lee Seon-gyun) — by casting actors who look similar to the men that she knew, and then following them on separate dates…

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