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Hong Sang-soo

Before We Vanish by InRO Staff Feature Articles Film

Before We Vanish | Issue 4: Under the Silver Lake, High Life, and Dogman

May 6, 2019

OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or into some DVD bargain bin assuming that those still exist by the time this sentence finishes. In other words, while the title of In Review Online‘s new monthly feature devoted to current domestic…

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by InRO Staff Feature Articles Film Year in Review

Top 20 Films of 2018

Toxic masculinity had a year; scan the top three titles on this list and you’ll find three films about self-involved men belaboring the value of ‘their art’ — made by three self-involved men belaboring the value of their art. That may seem like a…

December 29, 2018
by Lawrence Garcia Retrospective

Hotel by the River | Hong Sang-soo

Even for a career with no discernable lack of winter pictures (cf. The Day He Arrives, The Day After), Hotel by the River stands out as Hong Sang-soo’s coldest film to date. Set in a curiously unfrequented hotel by the Han River, in the…

October 26, 2018
by Christopher Bourne Retrospective

Grass | Hong Sang-soo

Hong Sang-soo packs a surprising amount of variety, complexity, and beguiling mystery into the 66-minute runtime of Grass. The film provides a brief but dense window of observation — and “observation” is the operative word here, since the central character, Areum (played by Hong’s…

October 26, 2018
by Zach Lewis Retrospective

The Day After | Hong Sang-soo

Hong Sang-soo‘s first black-and-white film since 2011’s The Day He Arrives (which is indeed quite a while, considering the rate at which he works), The Day After comes at a time when Hong’s films have garnered unprecedented levels of attention. Veteran festivalgoers are by…

October 26, 2018
by Sean Gilman Retrospective

Claire’s Camera | Hong Sang-soo

Of the three films Hong Sang-soo made in 2017, with actress and romantic partner Kim Min-hee, two were released in the U.S. in the spring of 2018 — shortly after his latest film, Grass (which also stars Kim), premiered at the Berlin Film Festival.…

October 26, 2018
by Alex Engquist Retrospective

On the Beach at Night Alone | Hong Sang-soo

On the Beach at Night Alone is Hong Sang-soo’s most sensitive character study since Nobody’s Daughter Haewon, and in the context of his relationship with lead actress Kim Min-hee — and the ensuing tabloid-fueled scandal their affair caused — it’s also Hong’s most self-questioning…

October 26, 2018
by Tony G. Huang Retrospective

Yourself and Yours | Hong Sang-soo

In Yourself and Yours, we find Hong Sang-soo amusing himself by writing scenes that are completely ambivalent in nature, mainly due to having lead actress Lee Yoo-Young play a woman, Min-jeong, who refuses to be identified — either to other characters, to the audience,…

October 26, 2018
by Greg Cwik Retrospective

Right Now, Wrong Then | Hong Sang-soo

Distilled down to a one-sentence summary, the calmly melancholic Right Now, Wrong Then is the very essence of a Hong Sang-soo film: A bibulous director pursues an alluring young woman, and things go awry. With its sad, voluble characters drowning their problems in soju;…

October 26, 2018
by Paul Attard Retrospective

Hill of Freedom | Hong Sang-soo

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…

October 25, 2018
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