Friday, August 11, 2017


Young Hee is a beautiful young Korean film star whose recent affair with a married man has sent her into voluntary exile to Europe. She discusses this with her dowdy companion while they stroll the parks and mise en scene of Hamburg. While enjoying the beach one evening she is carried away by what appears to be a stalker.

Later, she appears in a provincial Korean cafe talking to the man she'd loved but it is distant. She appears in another small scale cafe and engages with another man who unsuccessfully conceals his own marital status. Later she, he and the other guy and two female partners share dinner and Korean wine and Young Hee goes postal with the manners

A quartet of the above spends time at a seaside resort as a very dodgy window cleaner videobombs their chitchat. This is a very very funny scene,

Later, she is woken while sleeping on the beach by a member of a film scouting crew who takes her into his company for another edge-burning dinner chat.

This is a Hong San Soo film. It is mostly made of conversation (not dialogue, mind you, this is a studiously careful distinction) and interpersonal dynamics. I know I seem to have taken the piss here but what I am describing is a purely lovely moment of cinema. Stanley Kubrick characterised successful films as being constructed of six insubmersible units, blocks of human interaction that defied further breakdown. Hong Sang Soo makes Kubrickian comedies of manners. He doesn't care who notices. He doesn't care who cares. He just does it and he does it repeatedly and teaches any who will look that good films can come of little more than knowing and loving the material.

I love Hong Sang Soo's films despite the festival darling status he has attained. I love them because they are themselves. I haven't been able to say the same of any filmmaker's work since INLAND EMPIRE and that, my friends, makes me happy.

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