Woman of Fire (1971). Our central character here is Gong Ju, played brilliantly by Chun Woo hee, who provides a restrained though deeply emotionally involved portrayal of a victim of an horrific sex crime trying to piece her life back together. Original title: Pul-ip-deul. Hong and Kim have filmed six films together, including "Hotel by the River" and "Claire's Camera. In his 2015 film Right Now, Wrong Then, Hong uses a total of thirty-two zooms. For Hong Sang-soo's 16th film (and the fourth on this list), he hodgepodges timelines and scrambles events in a funny and engaging view of a will-they-won't-they romance. This is the starting point of an important artistic arch for Hong and as far as debuts go, it is a highly accomplished piece of filmmaking for the future iconic director. To appreciate and take stock of the world that Hong has constructed over the past decades, let's look at the themes, motifs and techniques that Hong employs most regularly. Hotel by the river hong sang soo tumblr login. Moonlit Winter (2019). The Korean auteur continues his exploration of the complexity of human relationships, detouring through the rainy back alleys and cramped bars of Seoul, where loneliness is drowned in drink. Current Hong muse Kim Min-hee plays Gam-hee, a Seoul florist with a girly bob whose husband is away on a rare business trip, which gives her time to visit some girlfriends. Manohla Dargis, The New York Times. They take the owner and his staff hostage, and serve customers, pocketing the cash for themselves instead.
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A rift on the city versus rural divide in Korea, its stunning cinematography is blended with a truly unique soundtrack, often leading with electronica music, but most memorably utilising The Flying Pickets' 'Only You' for one scene. A film that makes it impossible to look at fishing hooks in the same way again, The Isle is often gruesome but sometimes startlingly beautiful too. The cinema of Hong Sang Soo. An aging poet, Younghwan (Ki Joobong), summons his two estranged sons (Kwon Haehyo and Yu Junsang) to a solitary hotel beside the Han River because he feels his death is near. Filmography: Hotel by the River (2018), The Day After (2017), Woman on the Beach (2006), Woman Is the Future of Man (2004), The Day a Pig Fell into a Well (1996). They will keep working. It transpires they had actually met and befriended the same people while there.
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But small coincidences and privileged moments combine to create a powerful meditation on family and death, one of the most affecting films in Hong's oeuvre. Director Hong Sang-soo not to challenge court's dismissal of divorce suit. The idea bubbles through further meetings: with Kilsoo's nephew, a film student who could be their cinematographer, who joins them in the park, after which they return to the bookshop for a very Korean drinking session with a visiting poet it transpires Junhee knew in her younger and wilder days. Byung-doo is 29 and an established member of a crime organisation, but financial strains for his family and concerns over his mother's health has him worried for his future. Village in the Mist (1983). Venue: Berlin International Film Festival (Competition).
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The film is as characteristically stylish as ever though, combining auteur-level framing with surrealist visualisation to create something habitually Park-like in the process. In a sense Hong Sang-soo is an atypical artist. Minimalist masterpieces in an increasingly hectic existence. Like You Know It All (2009). Perhaps this is the secret of the power of Hong's cinema, as perhaps no one is as sincere as when they believe they are not giving anything away. We learn how this once happy girl has managed to reach this point through flashbacks and animations. His wife has been unable to provide one and gives him permission to seek a surrogate. Jin is a young girl living with her mother and younger sister, Bin. An instant blockbuster hit across East Asia, that sassy girl spawned remakes in Japan, US, China, India, Nepal and the Philippines. We witness his rise as a painter and his often hostile behaviour, all taking place during vital events in the history of Korea. Potential spoilers in the next two paragraphs. Hotel by the river hong sang soo tumblr full. ) A Dirty Carnival (2006).
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Mar 8-14: Laemmle Music Hall - Los Angeles, CA. Hotel by the river hong sang soo tumblr instagram. The Surrogate Woman (1987). Characteristically self-referential, Goo heads over to Jecheon to judge the local film festival, but he falls into the trap of so many Hong characters by drinking too much and offending too readily. Richard Brody, The New Yorker. The fact that Gam-hee clearly wasn't aware of where Woo-jin has been working for the past two years is already a little odd.
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Gamhee is spending time without her husband for the first time in five years owing to him being away on a business trip and she decides to visit some friends on the outskirts of Seoul. With a brisk runtime just over an hour, it is a film with scant fat, despite its focus on the notion of waiting and time. Night and Day (2008). ‘The Novelist’s Film’ Review – Berlin Film Festival –. Instead, Eun-joo and Sung-hyun can communicate through a beach house mailbox while living in separate timelines two years apart. Perhaps one of his lesser known works, its story also fits with his success on such a ranking as arthouse director Goo Kyeong-nam (Kim Tae-woo) cannot land a hit feature but the critics seem to love him (read on to see that proven of Director Hong in real-life! Most of Hong's output has been festival material more than theatrical fodder, and since The Woman Who Ran doesn't scale the dazzling heights of, say, Right Now, Wrong Then or benefit from the star power of his collaborations with Isabelle Huppert, this won't have buyers running to sign on the dotted line. Here's another walking-and-talking film from festival favorite Hong Sang-soo, encapsulating a sliver of Korean life with his customary elusive delicacy. She spends time with her friend Jee-young discussing the relationship and tries to find her independence on her wave-bashed walks.
It is funny, yet tender and effecting. The General's Moustache (1968). My Mother & Her Guest (1961). Funny, charming and a telling slice of Korean culture, a true gem everyone should discover. The first of three Hur Jin-ho films on the list, this is subtle and subdued, with the highs and lows of love expertly portrayed here. While essays have been written in attempts to deconstruct the code that is his body of work—in reality, his work is much more simple. Reads one of his posters) in this funny, colour-filled and energetic outing. Welcome to your ultimate Korean cinema watch list. Rather than craft a distinct narrative and impose his will open the feature, he rather allows the story to unfold before him. Even within this single work, which is divided into three parts in which the same woman meets three different friends, there's a sense of déjà vu in some of the details — apples are peeled several times, mountaintops are spied from several windows — and yet the results are not only intriguing and sometimes hilarious but clearly also a sincere meditation on what you might be saying when you think you aren't saying much at all. Wild and strange, it has sparked further interest in recent times for its thematic and even title similarities to Bong Joon-ho's Parasite, this film is evidence of the even broader influence Kim has had on Korean cinema. She sits down to count the pennies and decides that she is not willing to forego the cigarettes and whisky, but paying no rent seems appealing and she goes sofa-surfing with old friends instead.
Droll and uniquely gratifying, it is one of Director Hong's most accessible films. Hee-jin is a mute fishing resort operator, which is a rather grandiose way to describe renting out tiny floating huts. The film is set as Korea is experiencing increased democratisation and billboard painter Chilsu feels his fortunes are improving as he falls in love with Jina. Funnily, Hong often uses real alcohol while filming; the flushes in the faces of the actors not caused by makeup but by their own inebriated state. Director Hong again, this time focused on a college student called Haewon who had a secret affair with Seongjun, her professor. 71), this portrays the Gwangju Uprising in 1980 where thousands were killed as students demonstrated against the martial law government.
It takes on the taboo issue of an attraction between Oak-hee's widow mother, played by Shin's own wife, and their artist lodger. Forget those meek, eternally girlish women who decorate other kinds of Korean film; Junhee has left that well behind. While at times his films have been criticised for being slow, one-dimensional and at times repetitive to the point of being self-indulgent— for fans of his work these criticisms are what truly make his movies worth viewing. It is one of Hong's most fascinating restaurant single-take shots ever too. A landmark film for Korean cinema, The Coachman was the country's first film to win a major award at an international film festival – Berlin's Silver Bear. Oct 11-12: Union Cinema - Milwaukee, WI. "The fact remains unchanged that (the couple's) marital life has completely ended. Because after two-thirds of the film, it is still unclear who the titular woman could be and what she might be running from. A truly manic piece of filmmaking, often going in more daring directions than The Housemaid (1960). Kwon has a stack of letters from Mori, a Japanese language teacher and her former lover, but she drops the various communications, causing the letters, and the film itself, to slip into a sporadic order as Mori waits around hoping to reconnect with Kwon.
May 31-Jun 2: Detroit Institute of the Arts - Detroit, MI. A stripped back offering, with very little dialogue and a slowburn, subtle development of concepts. More Director Im as we once again return to the darker days of the dictatorship with this feud film centred on two mortal enemies, Song and Chakko. An innocent portrayal of such, made all the more remarkable that it was produced just five months before the outbreak of the Korean War. After drifting in his teenage years while avoiding studying for the entrance exams to university, Hong met a theatre director, via a drunken introduction from his friend. The pair then head to Otaru, a sleepy village in Japan, where possible reconnection from the past is on the cards.