Retrospective

by Tony G. Huang Retrospective

Nobody’s Daughter Haewon | Hong Sang-soo

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…

October 25, 2018
by Paul Attard Retrospective

In Another Country | Hong Sang-soo

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…

October 25, 2018
by Johnny Han Retrospective

The Day He Arrives | Hong Sang-soo

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,…

October 25, 2018
by Sean Gilman Retrospective

Oki’s Movie | Hong Sang-soo

“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…

October 25, 2018
by Lawrence Garcia Retrospective

List | Hong Sang-soo

For Hong Sang-soo, whose working method and steady output has been, and continues to be, (relatively) unburdened by production constraints, the notion of artistic freedom has never been much in question. And so it is with 2011’s List, a half-hour short film about a…

October 19, 2018
by Lawrence Garcia Retrospective

Hahaha | Hong Sang-soo

True to its title, 2010’s Hahaha is very funny — amusing in ways that might even cloak its generous, searching ambition. The film follows two skirt-chasing, barely-employed Korean men: Joong-sik (Yoo Jun-sang), a depressed film critic pursuing an extramarital affair, and Moon-kyung (Kim Sang-kyung), a director…

October 19, 2018
by Ryan Swen Retrospective

Lost in the Mountains | Hong Sang-soo

Lengthy runtimes have never been totally essential to Hong Sang-soo’s work, but there is a certain quality intrinsic to his approach — how he crafts long, languid scenes that accrue an emotional and comedic power through duration — that seems to benefit from the…

October 19, 2018
by Paul Attard Retrospective

Like You Know It All | Hong Sang-soo

As with many Hong Sang-soo films, 2009’s Like You Know It All deliberately repeats itself: Goo Kyeong-nam (Kim Tae-woo), an arthouse director, goes on two nearly identical trips — first to Jecheon, as a juror for the local film festival, and later to Jeju, as…

October 19, 2018
by Kenji Fujishima Retrospective

Night and Day | Hong Sang-soo

Hong Sang-soo’s 2009 film Night and Day marks many firsts for the director, including his first film shot on digital and his first to be filmed outside his native South Korea. At 144 minutes, Night and Day is also Hong’s longest film by a…

October 19, 2018
by Luke Gorham Retrospective

Woman on the Beach | Hong Sang-soo

As perhaps the most narratively straightforward Hong Sang-soo film to date, albeit one still prone to a certain structural mischievousness, Woman on the Beach modulates its conceptual restraint in such a languid way as to allow its characters room to breathe. Interestingly, despite this active divergence of approach, Woman…

October 19, 2018
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