by ·Comments Off on Walk Up (2022, Hong Sang-soo)

Male filmmaker (gasp) Byungsoo (Kwon Hae-hyo, of everything) takes his daughter Jungsoo to visit interior designer Ms. Kim (Lee Hye-young, dying actress of In Front of Your Face), hoping she’ll take the girl on as an apprentice.

Next visit, the daughter is gone, having quit the interior design business after a month, and Ms. Kim introduces the guy to a big fan of his films. They drink quite a bit, of course. Later, he’s living with the fan Sunhee (Song Sun-mi, who usually plays Kim Min-hee’s friend) in Ms. Kim’s upstairs apartment.

Later still, he’s living there alone even though Ms. Kim is a crappy landlord, and seeing a realtor (the main kid’s mom in Introduction). He goes down to the street and runs into his daughter and… I can’t remember if anything else happens. I enjoyed myself though.

by ·Comments Off on In Our Day (2023, Hong Sang-soo)

I watched this the same night as In Water just because they’re recent Hong movies with short runtimes, not looking for connections, but I noted characters saying “I’ll do my best / let’s do our best” in both movies. Two separate-but-similar three-person situations with no direct intersection, cutting back and forth between them, each chapter with a preceding descriptive intertitle like it’s a Dickens chapter.

1. Actress Kim Min-hee is staying with friend Song Sun-mi (also Kim’s friend in The Woman Who Ran), when young aspiring actress Park Mi-so comes for a visit/interview.

2. Older Gi Ju-bong (the dad in Hotel by the River) is a belatedly popular poet, Kim Seung-yun is at his place filming candid scenes for a documentary on him, aspiring poet Ha Seong-guk comes to visit/interview (these two costarred in In Water).

Different sorts of dramas ensue – in the first, the host’s cat escapes and the visitor helps recover him. In the second, the visitor is trying to kiss up and stay longer and helps the newly on-the-wagon poet get boozed up.

by ·Comments Off on In Water (2023, Hong Sang-soo)

The one where the shots are out of focus. This is bearable because the movie’s only an hour long, and each scene is differently out of focus, leading one to wonder whether the sharpness of the picture correlates to something in the narrative (he does say his idea is “a little blurry”) or a character state of mind. Three would-be film people are at a beach town on the young director’s dime to shoot his first movie, which he hasn’t written yet. He bristles at how much they’re all spending on food while he postpones the actual shoot, finally steals some ideas from his surroundings and from his past, calling up his ex to ask permission to use a song he wrote her, and playing it into the camera as he walks into the sea, closing the movie and the movie-in-the-movie. So his movie ends up pretty close to our movie, but presumably in focus.

If you could see ’em, the actors are Shin Seok-ho (the lead in Introduction) with Ha Seong-guk and Kim Seung-yun (both also in In Our Day).

by ·Comments Off on Poetry (2010, Lee Chang-dong)

Grandma (major 60s/70s actress Yoon Jeong-hee) takes care of grandson Wook, whose friend group raped a classmate until she suicided. She tries to get enough cash from the rich disabled guy she attends for the payoff to the dead girl’s mom. Her Alzheimer’s diagnosis adds to her inner struggle but doesn’t affect the plot. When she visits the dead girl’s mom but talks only of apricots is it because the disease made her forget her reason for coming there, or was she distracted by the poetry or nature, or is she avoiding hard conversations. I have no qualms with her fellow poets but the employers, the fathers, the kids – most people in the movie are living comfortably, contemptibly.

I spend at least an hour a day saying this:

Robert Koehler in Cinema Scope 43:

There is no simple cause and effect between the initially cautious [Alzheimer’s] diagnosis and her decision to sign up for a poetry class … That doesn’t mean, however, that the viewer is denied such a cause-and-effect reading if they choose one, and Lee isn’t a filmmaker to either encourage or discourage it. This is perhaps the most notable aspect of the evolution of Lee’s screenwriting – rewarded at Cannes with the screenplay prize – starting from the unmistakable determinism of Green Fish and the elegant but closed geometrics of Peppermint Candy. Like his camera, which allows viewers to make their own compositions and choices within the larger frame, his narrative approach trusts in granting characters their own lives, so much so that one gets the sense that they frequently surprise Lee himself with the choices they make.

Auteurist foreshadowing:

by ·Comments Off on Oldboy (2003, Park Chan-wook)

One of those movies (see also: The Game, Hypnotic) where people have to behave exactly as predicted by the supervillain for the plot to work – though there is a hitch in the plan when our man on the run (Choi Min-sik, who’d return in Lady Vengeance) and his sushi chef girlfriend/daughter (Kang Hye-jung of Invisible Waves) discover and remove their tracking devices, and the bad guy (Yoo Ji-tae, the married guy in Woman is the Future of Man) kills one of Choi’s friends with a “you made me do this” sort of speech that I didn’t buy, figuring that killing all of Choi’s friends was part of the deal. The deal is that Young Choi spotted Yoo smooching his sister in high school, told others then forgot about it, she killed herself, so Yoo becomes a rich maniac devoted to tricking Choi into fucking his own daughter. Good ending: they end up happy together after he gets the illegal prison’s house hypnotist to make him forget the girl’s identity. I can forget things just fine without hypnosis, so I’ll happily rewatch this in theaters every 20 years and be surprised each time.

by ·Comments Off on Hotel by the River (2018, Hong Sang-soo)

Aging poet Ki Joo-bong (the second section of Grass) arranges to meet his grown sons – Kwon Hae-hyo (film director of In Front of Your Face) and Yu Jun-sang (film director of The Day He Arrives). Only one of them is playing a film director in this movie and I’ve forgotten which. The other is going through a divorce which he’s hiding from dad, who wants to tell his estranged family that he feels he doesn’t have much time left.

two brothers:

Meanwhile upstairs, Kim Min-hee and her friend Song Sun-mi (also her friend in The Woman Who Ran) have been through some stuff and are hiding from the world, resting and getting hungrier. Both groups will finally move to a restaurant down the road where the soju keeps flowing, and the dad’s dark prediction will prove correct soon after.

Michael Sicinski:

Hotel by the River marks a turn in the director’s work, away from his preoccupation with male-female relationships and toward questions of family and lineage. Instead of observing ridiculous men embarrassing themselves in thwarted romantic misadventures, here we are seeing the wreckage that bad men leave in their wake.

by ·Comments Off on In Front of Your Face (2021, Hong Sang-soo)

Two sisters go out for a walk and the stars of the previous movie I watched walk by – it’s another day in the Hongverse.

Lee Hye-young is a former actress back in Korea and staying with her sister Cho Yun-hee (lead guy’s mom in Introduction‘s restaurant scene). She has a meeting with director Kwon Hae-hyo (Yourself and Yours) who wants to film a feature with her, but would settle for a short film, but would settle for sleeping with her. She tells him (before telling her sister) that she’s dying, has a few months, and he leaves her a bittersweet message the next morning (“What I promised yesterday can never happen.”). Elsewhere on the trip, she haunts the house where she used to live, reminiscing and coping (“I believe heaven is hiding in front of our faces”) and visiting the cafe run by her nephew (the star of Introduction).

Antoine Thirion in Cinema Scope:

In a body of work whose narrative scope seems to diminish a little more with each film, In Front of Your Face is still surprisingly laconic: its story unfolds over 24 hours and has barely ten scenes, one of which takes up a good third of the film … While the film’s deceptive structural simplicity seems to adopt its heroine’s fixation on presence and the present, things never cease quietly going off the rails.

by ·Comments Off on Introduction (2021, Hong Sang-soo)

Matter-of-fact lboxd plot description “Youngho goes to see his father who is tending to a famous patient. He surprises his girlfriend, Juwon, in Berlin where she is studying fashion design. He goes to a seaside hotel to meet his mother and brings his friend Jeongsoo with him.”

Maybe the title is because scenes and conversations start and don’t reach expected conclusions. We don’t see Youngho talk with his dad who asked to see him, he doesn’t go back into the restaurant after ditching his mom and the famous actor.

Youngho with his dad’s assistant Ye Ji Won (Turning Gate, Ha Ha Ha):

Youngho is Shin Seok-ho, the neighbor who complains about cats in The Woman Who Ran‘s standout scene. Girlfriend Park Mi-so will return in the 2022 films. The girlfriend’s mother and the actor are both from the second scene in Grass.

by ·Comments Off on Decision to Leave (2022, Chan-wook Park)

Entrancing detective/seduction story that only lost me when Tang Wei buries/drowns herself on the beach. We’ve previously seen her in Long Day’s Journey Into Night, and if I can find the director’s cut it’ll be time to rewatch her in Blackhat. Lead guy Park Hae-il (brother of Song Kang-ho and Doona Bae in The Host) exonerates her in her husband’s rock climbing death, falls for her, then discovers how she’d committed the crime and manipulated evidence. A year later another of her husbands has died, the evidence again shows her innocent, but further digging reveals she killed someone else to provoke the husband’s murder. Now Detective Park is fully messed up, losing his own wife and chasing after the murderess, who is pretty far gone herself, what with the beach finale. As with The Handmaiden, each scene is beautifully constructed, and if I lost the overall thread while watching, I’ll just have to rewatch in a few years (might as well give Stoker and Thirst another spin while I’m at it).