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Standing apart from the clamor of current Korean cinema, with its obsessed vengeance seekers, live-octopus eaters, and river-dwelling mutants, forty-six-year-old Hong Sang-soo has secured his international reputation over the past decade with a septet of muted, structurally complex films—elliptical, exacting work that puts him more in the company of Hou Hsiao-hsien, Jia Zhang-ke, and Tsai ...
Mar 5, 2024 · One example of this approach is A Traveler’s Needs (2024), the latest feature from Hong Sang-soo—whose name, uttered among cineastes, inevitably results in either an eyeroll or effusive praise, and rarely anything in between—which features Isabelle Huppert as an eccentric, rootless Frenchwoman who has relocated to the South Korean capital with little more than a half-baked plan to start ...
James Quandt on the Best Films of 2020. James Quandt, Senior Programmer at TIFF Cinematheque in Toronto, is the editor of Apichatpong Weerasethakul (Austrian Film Museum, 2009) and Robert Bresson (Revised) (Indiana University Press, 2012). Of the hundreds of films I have watched during the coronavirus lockdown, most were classics on the ...
Oct 22, 2009 · Hong Sang-soo, Night and Day, 2008, still from a color film in 35 mm, 144 minutes. AT FIRST BLUSH a routine tale of the infantile adult male struggling to overcome a repressed libido, Hong Sang-soo’s aptly titled Night and Day (2008) slowly strays from its surface pleasures to embark on a far more nuanced study of romance, social norms, and identity.
Everywhere in Cannes—including the Market, where Hong Sang-soo’s Night and Day transported his axiomatic tale of male fecklessness from Seoul to Paris and abridged the expected sex, though, ironically, the result was echt Hong—directors were chastised for being too much themselves: Luc and Jean-Pierre Dardenne for turning their drama of moral quandary into self-styled formula in Lorna ...
