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Chance encounters, an aversion to the rules and freeform writing are all ingredients that have formed the cinematic oeuvre of Hong Sang-soo. ‘The Novelist’s Film’ Review – Berlin Film Festival –. Film department professor Sang-Joon heads to Bukchon so he can meet film critic friend Young-ho. "GRASS's main set is a languorous coffee shop, Kim plays A-reum, who quietly sits in the corner and eavesdrops sundry conversations of other patrons, and is mildly baffled when one of them approaches her for a rather audacious favor. Hong and Kim have filmed six films together, including "Hotel by the River" and "Claire's Camera.
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He makes films of people—people in rooms: drinking, sharing, loving, basking in the beautiful absurdity that is our life. While waiting for them to arrive, he meets two women (Kim Minhee and Song Seonmi) out walking in the new-fallen snow and is struck by their angelic beauty. What begins as a tale of a slightly egotistical film director, reverses and paints him in a more sympathetic light the second time around. Hotel by the river hong sang soo tumblr hit. Still so young and wasting her life! The troubled Kyeong-Min seeks out his former school friend Jong-Seok.
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In his 2015 film Right Now, Wrong Then, Hong uses a total of thirty-two zooms. In Front of Your Face. However, the pair's working class connections continue to hold them back. 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. Shin Sang-ok. Before he was kidnapped by North Korea to produce films there, Shin Sang-ok produced some of South Korea's most important cinema.
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Lee Hye-young plays Junhee, a hitherto prolific novelist who visits a former fellow writer who now runs a bookshop outside Seoul, then takes a walk with a film director who, we gather, was once planning to adapt one of her books. Featuring a series of brutal baseball-swinging, knife-thrusting brawls, A Dirty Carnival will thrill all the long-term gangster flick fan as a familiar crime tale is given the Korean noughties treatment. There is a true vein of tragedy which runs through the familiar self-referential comedic muses of Hong. A road movie that is satiric while providing genuine social commentary of Korea at the time. Manohla Dargis, The New York Times. Perhaps the film's most pleasing element are the wide shots of the floating huts, often draped in early morning mist. However slight variations in responses and observations of the characters result in the course of the narrative switching. Hotel by the river hong sang soo tumblr blog. Instead, Eun-joo and Sung-hyun can communicate through a beach house mailbox while living in separate timelines two years apart. Young-soon's affable roommate, Young-ji (Lee Eun-mi), happens to be a star griller as well as a lover of cats, the latter fact resulting in the pic's most hilarious exchange, involving a male neighbor who chides Young-ji for feeding some stray cats that keep turning up and scaring the man's wife. Like You Know It All (2009). The Coachman (1961).
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We then see the inclusion of a schoolgirl made to work as a concubine as The Insect Woman unpacks various notions of morality. Despite his horrific abuse of her, she continues to follow him home. Reads one of his posters) in this funny, colour-filled and energetic outing. But the women have come to the hotel to do some healing of their own. They are instantly relatable and at times even too real, reminding us of people we have stumbled upon in our own everyday lives. From ill- timed comments to drunken outbursts, his films are littered with the awkward social interactions fuelled by drinking. Director Hong Sang-soo not to challenge court's dismissal of divorce suit. Scenes from the present are in black-and-white, the flashbacks in colour and it is left to the audience to use location markers to piece together the narrative strands of this disconnected but linked tale. Unhurried and often demonstrating the power of silence to make us understand the connection between characters, this is a romance which provides a candid view of the trappings of love. For anyone familiar with the work of Korean writer-director Hong Sang-soo, there's a fascinating tongue-in-cheek quality to this remark, uttered in his latest work, the Berlin competition title The Woman Who Ran (Domangchin yeoja); repetitions with infinitesimal variations are basically Hong's entire modus operandi. A powerful and effecting film on one of Korea's landmark events.
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What we see is some fun footage of Kilsoo in the park as the seasons change, holding a bunch of wildflowers, giggling at the camera and her nephew behind it as they horse around, playing at making a film. However, they run into their classmates at a restaurant (enter the classic Director Hong soju scene) and an awkward exchange of new information flows. Hotel by the river hong sang soo tumblr girls. A murder mystery which soon subverts the genre by expanding into a more profound exploration. Moonlit Winter (2019).
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Often compared with the naturalistic cinema of Rohmer, Hong creates characters that are steeped in authenticity. The Insect Woman (1972). A Petal is a film about the long-term ruination of the psyche of not just a young girl, but an entire nation in the wake of the Gwangju Uprising. A truly manic piece of filmmaking, often going in more daring directions than The Housemaid (1960). As Younghwan moves between the women and his bickering sons, he also moves between his two minds: one that walks on the street and the other that communes with the eternal. We don't need to see it.
Pursuit of Death illustrates the trauma of a nation that has found itself divided by an ideology-marked border. The Seashore Village (1965). Such a fate befalls new wife Hae-sun and she becomes a targeted widow presence on the village. Director Hong is also his own writer, producer, editor and composer, but it is clear that he too finds an important collaborative connection with his actors. It shows Korean culture at the time as one of suffocation, where men get drunk and women grow bored. Opening on a bellowing scream, photographer Kim Chul-woon is found dead by her landlady. Dramatic clashes combined with comedic moments, gawkiness, human connections and romantic follies from the Hong palette here. She receives a letter from Jun, but Sae-bom also reads it and discovers her mother's secret past. Shot in 1973, it was condemned to storage until its release in 1977.
It also serves as a reminder of the lost talent of Lee Eun-ju, playing Soo-jung here, who tragically died by suicide at just 24 years of age. The reaction shot from one of the cats at the end of the discussion is either one of Korean cinema's unlikeliest strokes of luck since Parasite won the best picture Oscar or an impressively staged feat of animal handling. The first film of several on this list which fell afoul of the censors at the time. The first appearance on the list for legendary director Kim Ki-young and gets the better of Kim's Woman Chasing the Butterfly of Death which fails to be included on the list. May 12: Korean Film Festival DC - Washington, DC. May 24: George Eastman Museum - Rochester, NY. 71), this portrays the Gwangju Uprising in 1980 where thousands were killed as students demonstrated against the martial law government. 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. Gam-hee also runs into Woo-jin's husband, who, like the other men, is practically only filmed with his back to the camera.
A stripped back offering, with very little dialogue and a slowburn, subtle development of concepts. She hasn't written a novel for a long time; she feels she has reached the end of a long road with her descriptive, plotless writing style and is unsure how to remake herself into a different kind of writer. With her mother immigrating to Canada, Haewon is feeling low and reaches out to Seongjun again after a long hiatus. She inverts notions of skipping any psychological aspects, instead placing such angst front and centre as we explore a young girl's complex relationship with her sister's husband. Like much of Kim's work, Io Island is startlingly ahead of its time, a truism that applies to his films from any decade. Since then, he has been seeking to end his marriage, apparently to tie the knot with Kim, but his wife has been adamant about not giving in to the divorce suit. While this is characteristically Hong-like in many ways, we see him stretch into new themes and emotional nudges here. Here he masterfully combines pansori with 'Chunhyangga', a traditional Korean folktale. This is the low-budget debut most aspiring filmmakers dream of making. Pursuit of Death (1980). Harrowing and empathy-inducing, it powerfully illustrates concepts of victim mistreatment and blame culture. From there, he starts to spend time with this feisty girl and a sporadic relationship of sorts begins. Several clues are embedded in the closing part, in which Gam-hee goes to an art house theater and accidentally runs into her acquaintance Woo-jin (Kim Sae-byuk), who works there. READ OUR FULL REVIEW.
Hee-jin is a mute fishing resort operator, which is a rather grandiose way to describe renting out tiny floating huts. Even among the bowing, exchange of compliments and mutual deferral required by Korean courtesy, Junhee is clearly a prickly customer. Often quiet and gentle, it riffs on that big ticket issue – facing death and squaring the balances before the final curtain. Coming in at a trim 76 minutes, Night Journey boasts some dazzling cinematography and is led by an equally eye-catching central performance from Yoon Jeong-hee. Despite the looming modernisation for Korea, we see a simple life village life here. Apr 4: Oklahoma City Museum of Art - Oklahoma City, OK. Apr 4-11: Wisconsin Film Festival - Madison, WI. They walk through the bare trees of the wintry park, they go to eat ramen, they come up with a plan — despite the impasse each has reached on her own — to work together. Funny, charming and a telling slice of Korean culture, a true gem everyone should discover. But there are other elements that hint at an intriguingly spiky if only barely hinted-at subtext as well.
Writing a film, however — especially a film for her new friend — would be a different matter. Often named Painted Fire in Western settings, here we see Choi Min-sik appearing starkly different to his iconic role in Oldboy the following year. Jordan Cronk, Cinema Scope. Her first stop is the home of bespectacled, slightly weary-looking Young-soon (Seo Young-hua), who recently divorced and moved to the outskirts, where she has a vegetable patch close to her apartment. 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. Think about what it means! Because after two-thirds of the film, it is still unclear who the titular woman could be and what she might be running from. For a filmmaker that is very stark and minimalistic in his use of music, when he does decide to pick a piece for his movie, it is always very deliberate.