Even for a career with no discernable lack of winter pictures (cf. The Day He Arrives, The Day After), Hotel by the River stands…
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…
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),…
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…
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…
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…
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…
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…
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…
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…
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…
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,…
“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…
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…
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,…
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…
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…
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…