Tag: hongsangsoo
Berlinale 2024 Review: A TRAVELER'S NEEDS, Hong Sangsoo's Minimalist Odyssey of Connection and Wonder
Hong Sangsoo and Isabelle Huppert reunite to explore themes of existential wanderlust and the complexity of human connections.
New York 2023 Review: IN WATER Is Out of Focus
Director Hong Sang-soo's latest film.
Cannes 2023 Review: IN OUR DAY, Luminous Korean Miniature
Prolific Korean auteur Hong Sangsoo premieres his 30th film in the Director's Fortnight section at the 2023 Cannes Film Festival.
WALK UP Review: Hong Sang-soo Expands His Multiverse
Kwon Haehyo, Park Miso and Lee Hyeyoung star in a monochromatic movie by Korean auteur Hong Sang-soo.
Berlinale 2023 Review: IN WATER Dazzles
Shin Seokho, Kim Seungyun, and Ha Seongguk star in director Hong Sang-soo's latest contemplation on creativity and art.
New York 2022 Review: Hong Sang-soo's THE NOVELIST'S FILM, Compulsion and Stagnation
Prolific as ever, Hong is not stagnating for sure. But I guess with the pandemic it crossed his mind. I hope his compulsion never stops.
Review: IN FRONT OF YOUR FACE Defies Conventional Romances
The voice-over that starts Hong Sang-soo's In Front of Your Face is more like a prayer. It belongs to Sang-ok (Lee Hye-young), a serene faced, aging beauty crashing on the couch in her younger sister Jeong-ok (Cho Yun-hee)'s high-rise apartment...
Friday One Sheet: IN FRONT OF YOUR FACE
The prolific, one-a-year-but-sometimes-two, output of Hong Sang Soo has yielded some brilliant posters, particularly the 'designing for designers' approach that artist Brian Hung has brought to the key art for his films in recent years. (Hat tip to Mubi for this 2021...
Review: INTRODUCTION, Young Love in a Time of Crisis
Director Hong Sang-soo's Introduction is a timeline-jumbled, melancholic piece about young love in the eyes of adults. Shot just before the COVID pandemic that led to an ensuing lockdown in February-March of 2020, this slight film, clocking at mere 65 minutes,...
New York 2021 Review: IN FRONT OF YOUR FACE, Emotionally Resonant, Horny Dramedy
Directed by Hong Sang-soo, the film may lack his narrative and structural inventiveness but it has a nasty hook that gets you at the end, defying the conventional romance narrative. It's wickedly funny, too.
Review: THE WOMAN WHO RAN, Deceptively Simple Yet Deliciously Playful
A new film by director Hong Sang-soo.
New York 2020 Review: THE WOMAN WHO RAN, Hong Sang-soo Again Explores Monotony vs. Chaos
Kim Min-hee, Lee Eun-mi, and Kwon Hae-hyo star in director Hong Sang-soo's deceptively simple yet deliciously playful film.
Notes on Streaming: Enjoy a Sampler Trio by Hong Sang-soo
All on the Criterion Channel: 'The Day He Arrives,' 'On the Beach At Night Alone' and 'Claire's Camera.'
Review: GRASS, Cynical, Delicious Coffee Shop Vignettes
Kim Minhee stars in director Hong Sangsoo's latest human comedy.
New York 2018 Review: Emotions Run High in Hong Sangsoo's GRASS
When considering the work of Hong Sangsoo, Grass is not groundbreaking or anything, but itis perhaps more cynical and darker than Hong's other films. Still, the director's human comedy continues with slight variations each time with delicious results.
Locarno 2018 Review: HOTEL BY THE RIVER, A Wonderfully Performed New Drama from Hong Sangsoo
Six months after the premiere of Grass at the Berlinale, prolific auteur Hong Sangsoo is back with another black and white drama which once again reunites him with his leading actress Kim Min-hee. Having just debuted at the Locarno International...
Review: CLAIRE'S CAMERA, A Perfunctory Blip
Love him or hate him, Hong Sangsoo has been remarkably consistent with his films, which both offer viewers a familiar framework and new variations on his favorite themes. His 20th work Claire's Camera debuted last year at the Cannes Film...
Cannes 2017 Review: THE DAY AFTER Offers Bitter Portrait of Infidelity
Returning to black and white for the first time since The Day He Arrives (which screened in Un Certain Regard in 2011), Hong Sangsoo returns to the Cannes competition section with The Day After, a focused rumination on love and...
Cannes 2017 Review: CLAIRE'S CAMERA, Hong Sangsoo's Low-Key Cannes Holiday
Love him or hate him, Hong Sangsoo has been remarkably consistent with his films, which both offer viewers a familiar framework and new variations on his favorite themes. His 20th work Claire's Camera debuts this weekend as a Special Screening...
Berlinale 2017 Review: ON THE BEACH AT NIGHT ALONE, Hong Sang-soo's Most Personal and Cruel Film to Date
A new year has arrived and with it the challenge of reviewing a new work from Korea's arthouse darling Hong Sang-soo. On the Beach at Night Alone, which borrows its name from the title of a Walt Whitman poem and...
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