The film exudes a casualness that starkly contrasts with Hong Sang-soo’s enraged and almost abstract Grass.
Grass has a thorniness that starkly resists the cutesy self-pity that can sometimes seep into Hong’s work.
Hong Sang-soo’s Claire’s Camera is governed by a narrative circle that suggests relief as well as entrapment.
In the film, Hong Sang-soo simultaneously positions filmmaking as the ultimate act of atonement and evasion.
As with most Hong Sang-soo films, it engages in intellectual gamesmanship while courting emotional pathos.
Jerusalem is a city of beige and tan, a vast barren sprawl that is, despite the brutal heat and muted colors, quite beautiful.
Claire’s Camera is one of Hong Sang-soo’s most formally intuitive and sharply written films in some time.
A melancholy air blows through every haunted frame of Hong Sang-soo’s On the Beach at Night Alone.
Yourself and Yours‘s commitment to its various extreme ambiguities is a crucial facet of the film’s success.