In Our Day.In the cinema, as elsewhere, the notion of “late style” has become a critical commonplace—shorthand for dealing with an artist’s “mature” work, particularly when said artists are dismissed or misunderstood after a period of acclaim. The problem with shorthand, of course, is that not everyone can read it, the result being that appeals to “late style” can come across as abdications of critical responsibility, promissory notes that have yet to be fulfilled. Such debts are in many cases eventually paid, obscure references to “late style” giving way to fuller, more perspicuous accounts of an artist’s achievement. Few would now dispute the considered analyses of how Howard Hawks, pivoting on the success of Rio Bravo (1959), made a deliberate move into the late-career languor of Hatari! (1962), Man’s Favorite Sport? (1964), and Red Line 7000 (1965). In the case of Hong Sang-soo, however, this critical due has yet to...
- 5/20/2024
- MUBI
As some of the lists of the previous years were not on par with the ones we have been publishing lately, we decided to take a closer look at some of the years that were not as covered at the time. In that fashion, here is a list with the 50 of the Best Asian movies of 2015, in completely random order.
1. Monster Hunt
Raman Hui evidently shot a film to indulge every demographic category in the country. In that fashion, the movie entails elements of RPGs, comics, martial arts, comedy, musicals, romance, some drama and a plethora of action scenes. (Panos Kotzathanasis)
on Amazon by clicking on the image below 2. Spl 2: A Time for Consequences
The action scenes are magnificent, with Tony Jaa as Chatchai and Wu Jing as Kit giving their best selves. Furthermore, the film excels in the technical department, both in cinematography and special effects,...
1. Monster Hunt
Raman Hui evidently shot a film to indulge every demographic category in the country. In that fashion, the movie entails elements of RPGs, comics, martial arts, comedy, musicals, romance, some drama and a plethora of action scenes. (Panos Kotzathanasis)
on Amazon by clicking on the image below 2. Spl 2: A Time for Consequences
The action scenes are magnificent, with Tony Jaa as Chatchai and Wu Jing as Kit giving their best selves. Furthermore, the film excels in the technical department, both in cinematography and special effects,...
- 4/1/2024
- by AMP Group
- AsianMoviePulse
Iris, the petite enigma at the center of “A Traveler’s Needs,” dresses at once to be noticed, and to disappear. Over a bright sundress, spattered all over with red and violet blossoms, she wears a cardigan of a most assertive, eye-searing green. It’s the grassy hue, in fact, of green-screen backdrops, as we notice when she fades into the foliage of a city park in full summer leaf, or is consumed by the paint job of a tennis court-like roof terrace. Nobody knows exactly where she has come from, beyond the clue of her thick French accent, and even she seems uncertain as to where she’s going: One imagines her, with that effects-friendly knitwear, being dropped into any number of imagined locations, and looking just as out of place as she does on the streets of Seoul.
But Iris is played, with typically curt, quizzical good humor, by Isabelle Huppert,...
But Iris is played, with typically curt, quizzical good humor, by Isabelle Huppert,...
- 2/19/2024
- by Guy Lodge
- Variety Film + TV
South Korean director Hong Sang-soo has long been associated with quiet dramas, exploring human relationships and interactions through naturalistic dialogue, set in the world of narcissistic arthouse directors, starstruck actresses and lots and lots of alcohol-fueled rants and teary confessions to punctuate the more low-key proceedings. His 2015 film, “Right Now, Wrong Then”, doesn’t do much to stray from this setup but once again, spins his preoccupation with love and fidelity into interesting new directions.
on Amazon
Renowned filmmaker Ham Chun-su (Jung Jae-young) arrives in Suwon a day early for a screening of one of his films. While passing the time he notices a young woman (Kim Min-hee) and is immediately smitten with her beauty. Later, as he’s sitting by a temple, he sees her again and decides to strike up a conversation. The woman, Yoon Hee-jung, knows who he is when he introduces himself and...
on Amazon
Renowned filmmaker Ham Chun-su (Jung Jae-young) arrives in Suwon a day early for a screening of one of his films. While passing the time he notices a young woman (Kim Min-hee) and is immediately smitten with her beauty. Later, as he’s sitting by a temple, he sees her again and decides to strike up a conversation. The woman, Yoon Hee-jung, knows who he is when he introduces himself and...
- 5/10/2022
- by Fred Barrett
- AsianMoviePulse
Released in 2017, “On the Beach at Night Alone” is likely the most personal work both its director, Hong Sang-soo, and its star, Kim Min-hee, have been involved in during their respective decades-long careers. As such, the real-life circumstances which informed the film are impossible to ignore: after working on Hong’s 2015 film “Right Now, Wrong Then”, the married director and Kim began an affair, rumors of which caused controversy in South Korea. At the Seoul premiere of “On the Beach”, Hong finally admitted to the extramarital relationship. As a result, Kim lost endorsement deals and it was alleged that the affair was the reason why her talent agency, Management Soop, decided not to renew her contract. Moreover, the pair were ruthlessly pulled apart in the media of their home country, a nation where adultery was illegal until 2015.
on Amazon
Working through this tumultuous time of his life,...
on Amazon
Working through this tumultuous time of his life,...
- 4/30/2022
- by Fred Barrett
- AsianMoviePulse
Anytime Hong Sang-soo releases a new film, it’s cause for celebration. The South Korean auteur behind modern classics such as “Woman Is the Future of Man” and “Right Now, Wrong Then” is one of the most unique voices in world cinema.
He works at an extremely prolific pace while consistently exploring compelling themes such as sexuality, metaphysics, and humanity’s capacity for casual cruelty. His latest, “In Front of Your Face,” hits theaters next month and finds the director in top form working with familiar ideas. The film premiered at Cannes in 2021, but today you can watch the exclusive trailer prior to a limited theatrical release from distributor Cinema Guild in early May.
It should be a good spring for Hong fans who live in New York. Film at Lincoln Center is rolling out a month-long retrospective on the filmmaker that runs through April with double features of his most iconic films,...
He works at an extremely prolific pace while consistently exploring compelling themes such as sexuality, metaphysics, and humanity’s capacity for casual cruelty. His latest, “In Front of Your Face,” hits theaters next month and finds the director in top form working with familiar ideas. The film premiered at Cannes in 2021, but today you can watch the exclusive trailer prior to a limited theatrical release from distributor Cinema Guild in early May.
It should be a good spring for Hong fans who live in New York. Film at Lincoln Center is rolling out a month-long retrospective on the filmmaker that runs through April with double features of his most iconic films,...
- 4/12/2022
- by Christian Zilko
- Indiewire
One of the most amusing things about Hong Sang-soo’s “Introduction” is the thought that this half-cocked 66-minute bauble of a film might be someone’s first encounter with the singular Korean auteur. There are a few genuinely (or at least relatively) accessible points of entry to his extensive body of work — the playful conceit of “Right Now, Wrong Then” offers a semi-recent example, while the more straightforward likes of “Woman Is the Future of Man” and “Virgin Stripped Bare by Her Bachelors” are flush with enough sexual tension to seduce even the most casual newcomers into the fold — but this isn’t one of them.
, “Introduction” refuses to auto-correct for anyone who doesn’t already speak conversational Hong. Which isn’t to suggest the uninitiated will find any of it particularly hard to follow, only that the movie could well be over before they recognize how its mundane detours...
, “Introduction” refuses to auto-correct for anyone who doesn’t already speak conversational Hong. Which isn’t to suggest the uninitiated will find any of it particularly hard to follow, only that the movie could well be over before they recognize how its mundane detours...
- 3/4/2021
- by David Ehrlich
- Indiewire
Leading South Korean film sales firm Finecut has boarded “Toxic,” a fact-based drama-thriller about a mysterious outbreak that killed thousands. The firm, which is also representing Hong Sang-soo’s Berlin competition title “Introduction,” will unveil the new title to buyers at next month’s European Film Market.
The film is the dramatization of events between 1994 and 2011 in which at least 1,600, and possibly as many as 14,000, people in Korea died. Consumer goods companies including the U.K.’s Reckitt-Benckiser sold tens of millions of humidifier-disinfectants for everyday use. Some included medicinal claims such as the suggestion that they would be good for people suffering from the common cold. Instead, with possible government complicity, the products skipped proper testing and were later found to contain chemicals that caused irreversible lung damage.
The film centers on an ER doctor whose wife may have lost her life because of the product. Along with other victims,...
The film is the dramatization of events between 1994 and 2011 in which at least 1,600, and possibly as many as 14,000, people in Korea died. Consumer goods companies including the U.K.’s Reckitt-Benckiser sold tens of millions of humidifier-disinfectants for everyday use. Some included medicinal claims such as the suggestion that they would be good for people suffering from the common cold. Instead, with possible government complicity, the products skipped proper testing and were later found to contain chemicals that caused irreversible lung damage.
The film centers on an ER doctor whose wife may have lost her life because of the product. Along with other victims,...
- 2/19/2021
- Variety Film + TV
Wedged between “Right Now, Wrong Then” (2015) and the successive “Claire’s Camera” and “On the Beach at Night Alone” (both 2017), “Yourself and Yours” marks a delicate and pivotal moment for director Hong Sang-soo’s life, a time for changes which sips through the film and that will affect (undoubtedly in a positive way) his following works. The film enjoyed great success at the Toronto, San Sebastian (winner), Hamburg and many other Festivals.
“Yourself and Yours” is streaming on Mubi
The film opens in a hot and sticky Korean summer, with a conversation between the painter Young-soo (Kim Joo-hyuk) and a friend. Young-soo is worried about his dying mother but this concern is soon relegated to the back burner when his friend drops a bomb; his girlfriend Min-jung (Lee Yoo-young) was spotted drinking with a man in a bar, where she eventually even caused a drunk fight. Young-soo is incredulous, he doesn’t think it’s possible,...
“Yourself and Yours” is streaming on Mubi
The film opens in a hot and sticky Korean summer, with a conversation between the painter Young-soo (Kim Joo-hyuk) and a friend. Young-soo is worried about his dying mother but this concern is soon relegated to the back burner when his friend drops a bomb; his girlfriend Min-jung (Lee Yoo-young) was spotted drinking with a man in a bar, where she eventually even caused a drunk fight. Young-soo is incredulous, he doesn’t think it’s possible,...
- 12/23/2020
- by Adriana Rosati
- AsianMoviePulse
Hong Sang-soo has directed over twenty films. His debut feature “The Day a Pig Fell into the Well” (1996) won the Tiger Award in Rotterdam while several of his next films including “Woman Is the Future of Man” (2004), “Tale of Cinema” (2005) and “The Day After” (2017) were selected at the Cannes film festival, while “Hahaha” won the Prix Un Certain Regard at 2010. At Locarno, “Our Sunhi” (2013) won the Pardo d’oro for Best Director while “Right Now, Wrong Then” (2015) earned Hong Sang-soo the Pardo d’oro – Concorso internazionale. His 2020 film “The Woman Who Ran” won him the Silver Bear for Best Director at the 70th Berlin International Film Festival. In our Best Asian Films of 2020 list, “The Woman Who Ran” was voted as the third best.
His distinct style of people drinking and discussing fervently, men appearing as lowlifes, subtle but timely humor, along with the sudden, occasionally double zoom-ins and the...
His distinct style of people drinking and discussing fervently, men appearing as lowlifes, subtle but timely humor, along with the sudden, occasionally double zoom-ins and the...
- 12/19/2020
- by AMP Training
- AsianMoviePulse
Get ready for a Hong summer. On the heels of the announcement that Hong Sangsoo’s Yourself and Yours will finally get a U.S. release this summer, two more favorites from the prolific South Korean director are now arriving. We’re pleased to exclusively reveal that Grasshopper Film have acquired the U.S. distribution rights to Hong’s Hill of Freedom and a new digital restoration of Woman on the Beach. Both films will receive virtual cinema releases this summer, in advance of digital and home-video releases later this year.
A world premiere at the 71st Venice International Film Festival, Hill of Freedom (2014) is one of Hong’s most structurally ambitious works, chronicling a dislocated man’s misadventures in Japan through jumbled chronology. Woman on the Beach (2006) is the story of a film director becoming entangled in romantic affairs, and has often been compared to both Godard’s Contempt...
A world premiere at the 71st Venice International Film Festival, Hill of Freedom (2014) is one of Hong’s most structurally ambitious works, chronicling a dislocated man’s misadventures in Japan through jumbled chronology. Woman on the Beach (2006) is the story of a film director becoming entangled in romantic affairs, and has often been compared to both Godard’s Contempt...
- 5/1/2020
- by Jordan Raup
- The Film Stage
Hong Sang-soo may not be South Korea’s most revered director in the era of Bong Joon Ho, but no filmmaker from the region has been more consistent in his output, or more productive. It has become ritual to describe the similarities between Hong’s lo-fi character studies as he’s cranked out two dozen features with slight variations in plot and theme over 20 years, but the recurring summaries of a Hong enterprise — self-aware stories of neurotic characters who drink a lot and ramble about life — often underserve the sophistication behind them.
Where many filmmakers aim to stretch their stories across a broad canvas, Hong scribbles, but there’s plenty of depth lurking in the small, unassuming moments that contribute to a larger whole. “The Woman Who Ran” exemplifies the some of best aspects of Hong’s fast-and-loose approach, and why it can never be easily dismissed.
An episodic triptych...
Where many filmmakers aim to stretch their stories across a broad canvas, Hong scribbles, but there’s plenty of depth lurking in the small, unassuming moments that contribute to a larger whole. “The Woman Who Ran” exemplifies the some of best aspects of Hong’s fast-and-loose approach, and why it can never be easily dismissed.
An episodic triptych...
- 2/27/2020
- by Eric Kohn
- Indiewire
The Woman Who Ran opens on a lovely shot of hens. The camera then pulls back to show the garden of a middle-class apartment block where a woman named Youngsoon (Seo Younghwa) tells another, Youngji (Lee Eunmi), about her hangover. The lighting is natural; the performances and sentiment are, too. Hong Sang-soo’s cinema is one of repetition and anyone familiar will not take long to discern The Woman Who Ran as his own. He rinses; he washes; he repeats.
Some things, however, do change. Since the premiere of Right Now, Wrong Then in 2015, Hong has gradually moved from the melancholic male protagonists that defined his early work, and Woman feels like another natural exercise in that process. His artistic partnering with Kim Min-hee has been key to this–a no-nonsense and wonderfully nuanced actress who took her first Hong role in Right Now, then appeared in all but one...
Some things, however, do change. Since the premiere of Right Now, Wrong Then in 2015, Hong has gradually moved from the melancholic male protagonists that defined his early work, and Woman feels like another natural exercise in that process. His artistic partnering with Kim Min-hee has been key to this–a no-nonsense and wonderfully nuanced actress who took her first Hong role in Right Now, then appeared in all but one...
- 2/25/2020
- by Rory O'Connor
- The Film Stage
Carlo Chatrian’s rapid rise to becoming Berlin’s artistic director stems from the steely resolve of a soft-spoken film lover with smarts and a clear sense of what he considers meaningful in contemporary cinema today.
The Italian film critic and curator previously served a five-year stint as artistic director of Switzerland’s Locarno Film Festival. He is considered a bold choice on the part of German culture minister Monika Gruetters, who led the search team for a new Berlinale topper after
longtime director Dieter Kosslick exited last year. Chatrian is tasked with rebooting the Berlinale’s lineup, which Kosslick critics said was too large and favored quantity over quality.
Chatrian says that in his job interview with the culture minister and the selection committee, he “told them what cinema means for me and what I think festivals are.” His vision for Berlin and also what he achieved at Locarno motivated their choice,...
The Italian film critic and curator previously served a five-year stint as artistic director of Switzerland’s Locarno Film Festival. He is considered a bold choice on the part of German culture minister Monika Gruetters, who led the search team for a new Berlinale topper after
longtime director Dieter Kosslick exited last year. Chatrian is tasked with rebooting the Berlinale’s lineup, which Kosslick critics said was too large and favored quantity over quality.
Chatrian says that in his job interview with the culture minister and the selection committee, he “told them what cinema means for me and what I think festivals are.” His vision for Berlin and also what he achieved at Locarno motivated their choice,...
- 2/17/2020
- by Nick Vivarelli
- Variety Film + TV
The oft-repeated joke about Hong Sang-soo is that he makes the same movie over and over again, but at this stage in his career there is a necessary, if often overlooked asterisk: though the start- and end-points may vary slightly from viewer to viewer, he has carved out distinguishable periods. If periodizing the South Korean director is a manageable task, it’s ultimately a limiting one as well, a way to make a sometimes overwhelming oeuvre more digestible. Hong’s genius becomes most apparent when—as is the case with Yasujiro Ozu, another director who visibly honed and refined his style from film to film—one begins to look at the deviations, foreshadowings, and throwbacks within a particular period. Ozu’s pre-war sound films fascinatingly oscillate between polemical criticisms and more modernist depictions of Japan on the verge of mass societal uprootings, but maintained a commitment to a particular stylistic approach; Hong,...
- 2/13/2019
- MUBI
Hong Sang-soo is among the most prolific filmmakers in the world, and somehow manages to make each new film an event unto itself. “Hotel by the River” is his fifth film in the last two years — “On the Beach at Night Alone,” “Claire’s Camera,” “The Day After,” and “Grass” all preceded it on the festival circuit — and, like all of those earlier works, stars his creative and romantic partner Kim Min-hee (“The Handmaiden”).
After premiering at Locarno last summer, the black-and-white romantic comedy will soon be released theatrically. Watch the trailer below.
Here’s the synopsis: “Two tales intersect at a riverside hotel: an elderly poet (Ki Joo-bong), invited to stay there for free by the owner, summons his two estranged sons, sensing his life drawing to a close; and a young woman (Kim Min-hee) nursing a recently broken heart is visited by a friend who tries to console her.
After premiering at Locarno last summer, the black-and-white romantic comedy will soon be released theatrically. Watch the trailer below.
Here’s the synopsis: “Two tales intersect at a riverside hotel: an elderly poet (Ki Joo-bong), invited to stay there for free by the owner, summons his two estranged sons, sensing his life drawing to a close; and a young woman (Kim Min-hee) nursing a recently broken heart is visited by a friend who tries to console her.
- 2/2/2019
- by Michael Nordine
- Indiewire
Long walks, meals, drinks, conversations and Kim Min-hee are all back in Korean auteur Hong Sang-soo’s latest monochrome offering “Hotel by the River”.
Synopsis
An old poet staying for free in a riverside hotel summons his two estranged sons. This is because he feels, for no apparent reason, like he is going to die. After being betrayed by the man she was living with, a young woman gets a room at the hotel. Seeking support, she summons a friend. The poet spends a day with his sons and tries to wrap up the loose ends in his life. But it’s not so easy to do that in one day. But then he sees the young woman and her friend, after a sudden, unbelievably heavy snowfall.
Apart from Hong Sang-soo’s muse Kim Min-hee, the film stars regular Hong Sang-soo collaborators Song Seon-mi, Kwon Hae-hyo, Yoo Jun-sang, who won...
Synopsis
An old poet staying for free in a riverside hotel summons his two estranged sons. This is because he feels, for no apparent reason, like he is going to die. After being betrayed by the man she was living with, a young woman gets a room at the hotel. Seeking support, she summons a friend. The poet spends a day with his sons and tries to wrap up the loose ends in his life. But it’s not so easy to do that in one day. But then he sees the young woman and her friend, after a sudden, unbelievably heavy snowfall.
Apart from Hong Sang-soo’s muse Kim Min-hee, the film stars regular Hong Sang-soo collaborators Song Seon-mi, Kwon Hae-hyo, Yoo Jun-sang, who won...
- 8/31/2018
- by Rhythm Zaveri
- AsianMoviePulse
After a prolonged search over the past year, the Berlin Film Festival has hired Carlo Chatrian as its new director, according to multiple German outlets, including the daily newspaper B.Z. Berlin. Chatrian, who served as artistic director of the Locarno Film Festival since 2013, will replace outgoing Berlin director Dieter Kosslick. Festival representatives did not respond to requests for comment.
Kosslick, who ran the festival since 2001, faced criticism in recent years for the caliber of films in the lineup. Consternation over his tenure reached a fever pitch last fall, when 79 German directors delivered an open letter to Spiegel Online demanding a “new start” to the festival as well as the hiring of “an outstanding curatorial personality who is passionate about cinema, well-connected internationally and capable of leading the festival into the future on an equal footing with Cannes and Venice.” Kosslick’s contract expires May 31, 2019.
The German Cultural Events Agency...
Kosslick, who ran the festival since 2001, faced criticism in recent years for the caliber of films in the lineup. Consternation over his tenure reached a fever pitch last fall, when 79 German directors delivered an open letter to Spiegel Online demanding a “new start” to the festival as well as the hiring of “an outstanding curatorial personality who is passionate about cinema, well-connected internationally and capable of leading the festival into the future on an equal footing with Cannes and Venice.” Kosslick’s contract expires May 31, 2019.
The German Cultural Events Agency...
- 6/19/2018
- by Eric Kohn
- Indiewire
“The Day After” is a film that we’ve been following for a long time. After its premiere at last year’s Cannes Film Festival, we’ve been waiting for the official release Stateside. And with the film finally making its debut this May, we now are pleased to bring you an exclusive trailer and poster for the film.
Read More: Hong Sang-soo’s ‘Grass’ Is Brief But Dense With Ideas [Berlin Review]
From filmmaker Hong Sang-soo, perhaps best known for his films “Hahaha” and “Right Now, Wrong Then,” “The Day After” is an absolutely beautiful film.
Read More: Hong Sang-soo’s ‘Grass’ Is Brief But Dense With Ideas [Berlin Review]
From filmmaker Hong Sang-soo, perhaps best known for his films “Hahaha” and “Right Now, Wrong Then,” “The Day After” is an absolutely beautiful film.
- 4/24/2018
- by Charles Barfield
- The Playlist
“Taking a photo is something very important,” the eponymous Claire (Isabelle Huppert) tells a new friend in the opening of the latest trailer for Hong Sangsoo’s “Claire’s Camera,” setting the stage both for the film’s tone and the happy mystery that drives it. Huppert leads the feature as a woman who might be in possession of a magical camera, and who uses that wacky piece of machinery to possibly change the fortunes of her newest acquaintance.
In the film, “Huppert plays Claire, a school teacher with a camera (that might be magical) on her first visit to The Cannes Film Festival. She happens upon a film sales assistant, Manhee (Kim Minhee) recently laid off after a one-night stand with a film director (Jung Jinyoung). Together, this unlikely pair become detectives of sorts, as they wander around the seaside resort town, working to better understand the circumstances of...
In the film, “Huppert plays Claire, a school teacher with a camera (that might be magical) on her first visit to The Cannes Film Festival. She happens upon a film sales assistant, Manhee (Kim Minhee) recently laid off after a one-night stand with a film director (Jung Jinyoung). Together, this unlikely pair become detectives of sorts, as they wander around the seaside resort town, working to better understand the circumstances of...
- 2/20/2018
- by Kate Erbland
- Indiewire
It’s probably best not to try and keep up with the prolific out of Hong Sang-soo, but just prepare yourself for each picture as it arrives. The director’s latest, “Grass,” is set to make its World Premiere at the Berlin International Film Festival which kicks off today, and it looks like another gem from the filmmaker.
Reteaming with Kim Min-hee (“On A Beach Alone At Night,” “Claire’s Camera,” “The Day After,” “Right Now, Wrong Then“) the story takes inside a café where multiple dramas unfold before our eyes.
Reteaming with Kim Min-hee (“On A Beach Alone At Night,” “Claire’s Camera,” “The Day After,” “Right Now, Wrong Then“) the story takes inside a café where multiple dramas unfold before our eyes.
- 2/15/2018
- by Kevin Jagernauth
- The Playlist
Many auteur filmmakers are accused of making the same film over and over again, though few live up to that accusation as much as Korean arthouse darling Hong Sang-soo (Night and Day, In Another Country). This is not a negative thing per se, especially because playing around with repetitions and variations is an organic part of the director’s oeuvre, and also a recurring element within each single film. His latest, Right Now, Wrong Then (Jigeumeun matgo geuddaeneun teullida), consists of two parts, roughly an hour each, in which the same two characters meet and end up spending the same single day ...
- 8/14/2015
- The Hollywood Reporter - Film + TV
Many auteur filmmakers are accused of making the same film over and over again, though few live up to that accusation as much as Korean arthouse darling Hong Sang-soo (Night and Day, In Another Country). This is not a negative thing per se, especially because playing around with repetitions and variations is an organic part of the director’s oeuvre, and also a recurring element within each single film. His latest, Right Now, Wrong Then (Jigeumeun matgo geuddaeneun teullida), consists of two parts, roughly an hour each, in which the same two characters meet and end up spending the same single day ...
- 8/14/2015
- The Hollywood Reporter - Movie News
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