Hong Sangsoo - The Chinese Cinema (Page 2)

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Hong Sangsoo

A collection of 31 posts

Yourself and Yours (Hong Sangsoo, 2016)

Yourself and Yours (Hong Sangsoo, 2016)

Yourself and Yours isn’t the latest film from South Korean director Hong Sangsoo, that would be On the Beach at Night Alone, which premiered a few weeks ago at the Berlin Film Festival (where it picked up a Best Actress award). But, Yourself and Yours may still get a

Right Now, Wrong Then (Hong Sangsoo, 2015)

Right Now, Wrong Then (Hong Sangsoo, 2015)

While lacking the formal experimentation that distinguishes Hong Sangsoo’s best work (Oki’s Movie, The Day He Arrives) or the sheer giddy pleasure of his funniest movies (Hill of Freedom, In Another Country), Right Now, Wrong Then has a precision and focus that assures that, despite a certain conventionality,

Hill of Freedom (Hong Sangsoo, 2014)

Hill of Freedom (Hong Sangsoo, 2014)

At the top of the list of the best modern romantic comedies are the films of Hong Sangsoo and his latest, Hill of Freedom continues his winning streak with no end in sight (he’s managed an unbroken string of masterpieces with nine films since 2008’s Night and Day)

Nobody’s Daughter Haewon (Hong Sangsoo, 2013)

Nobody’s Daughter Haewon (Hong Sangsoo, 2013)

Continuing a recent trend, one that denotes a sharp break with his pre-2008 work, Nobody’s Daughter Haewon focuses on a female protagonist, though one who isn’t any more heroic than Hong’s usual cast of drunken, lecherous filmmaker/professors. Haewon is a pretty girl who is constantly told

Oki’s Movie (Hong Sangsoo, 2010)

Oki’s Movie (Hong Sangsoo, 2010)

This remains my favorite of Hong Songsoo’s movies, most of which are marked by an unusual structure, in which elements, situations, and/or characters from the first part recur later in the film, in ways that deepen, comment upon or subvert what has gone before. Oki’s Movie is

In Another Country (Hong Sangsoo, 2012)

In Another Country (Hong Sangsoo, 2012)

Hong Sangsoo continues to refine his quirky style, making it funnier, more elegant, and more subtly weird. Like Yasujiro Ozu or Eric Rohmer, Hong seems content to spend years creating endless variations of the same central subjects (in his case vacations, infidelity, drinking, and lazy filmmakers) within the same self-mirroring