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 films.
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.
The festival succeeded in creating what director Lee Yong-kwan called “the window to the world for Asian films.”
Spotting and processing the countless differences between the film’s two parts offers pleasures on various levels.
Phoenix perpetuates one of the best contemporary director-actor collaborations.
Nailing the feel of a place through precise lighting isn’t a problem for South Korean auteur Hong Sang-soo.
Despite the grim fatalism of these characters, the focus is less on universal questions of mortality than the lengthening shadows cast by the passage of time.
One of Hong’s most effortless triumphs, a primary-colored comedy which nonchalantly dispenses hard truths, uncomfortable revelations, and spontaneous laughs.