An actress wanders around a seaside town, pondering her relationship with a married man.
An actress wanders around a seaside town, pondering her relationship with a married man.
Bamui haebyun-eoseo honja, 等一个人的心湾, Na Praia à Noite Sozinha, En la playa sola de noche, Samotnie na plaży pod wieczór, Seule sur la plage la nuit
Wow. This is the most straightforward Hong film since The Day He Arrives, it has a two-part structure and occasional repetitive echoes, but it remains focused and direct in a manner he rarely goes for. The only distancing effect here is the one the audience brings with their likely awareness of the Korean tabloid coverage of Hong and Kim romance. As usual with Hong he is operating into the dual modes of his careful attention to the small time minutiae of his character’s interactions and the large demonstrative feeble-like quality of the tale his editing brings together about them. Here that means Kim Min-hee character has an inevitable destination on the beach at night alone as the title promises. Her…
this film is a flat out blessing; cinema this potently personal, profound and parked on the edge of reality & the moving image. docufiction as fiction, and the tragedies of life seeping their way into the Projections of our Selves. the life becomes the screen and the screen, before us, which is part of All Lives, transports us into the lives & tough times of those willing to shed their skin, and stand Naked in honesty of the hurt they've caused. the love they've found, and the feeling of sinking your feet into the beach's sand during the evening, as you ponder the friendships; the relationships that Dissolved over time or, worse yet, popped like balloons suddenly swept so swiftly into the past -- best of friends dissipate into faceless silhouettes.
"The man who asked the time, later on the window-washer...these guys popping up. Do you think that's Death?"
This was a question posed to me by The Perspicacious Shelly Kraicer, who has had the good fortune to see Hong's latest film twice. It's highly plausible, especially given the way the window-washer is just hovering on the balcony toward the end of the film, his task completed but staring into the hotel room like a creep. But what's more significant than the particular details is the fact that this is a question that can be legitimately posed in a Hong film. The man who for so long has drawn comparisons to Rohmer is now possibly incorporating elements of Buñuel or…
"Where's love? It's not even visible. You need to see it in order to search for it."
I actually watch this movie 5 times over the years, I just hesitated to write a review about it, because I didn't know how to put it into words my feelings about him, but the film explores the power dynamics between colleagues, acquaintances, friendship and gossip. This is the beauty and strength of Hong Sang-soo’s filmmaking; he gently moves the viewer into witnessing basic everyday occurrences and conversations. We witness the intricacies that take place during cigarette breaks, long drunken dinners, awkward cups of coffee, walks in a park, visiting tourist attractions, lonely film festivals and cold grey walks on the beach at…
Bem a cara do Hong Sang-soo fazer o filme mais impiedoso da sua carreira justamente quando é pra tratar sem muitos rodeios da própria vida pessoal. Não que todos os outros já não fossem em algum nível sobre isso, mas aqui parece que o próprio espírito de Maurice Pialat deu uma assombrada gostosa no cara. Mesmo pra quem não tá ligado no relacionamento dele com a Kim Min-hee é um dos filmes mais desoladores nessa relação entre romance e isolamento, nessa culpa implícita que acaba destruindo todo círculo social possível. Tem uma desesperança tão franca, tão não hesitante e livre de qualquer projeção distanciadora que a única coisa que sobra é uma morbidez muito bruta. A própria figura que persegue…
someone needs to tell Hong sang-soo that making a movie about an actress who had an affair with a married filmmaker with the actress you cheated on your wife with irl is a level of self indulgence to rival woody allen’s lmao..
Errado antes, errado agora. Nenhuma possibilidade alternativa além do silêncio constrangedor. Um presente de filme pro Sang-Soo (personagem) e pra Min-hee (não-personagem), por mais terrível que seja receber esse presente. Talvez uma das grandes obras já feitas sobre a sensação de querer sair no meio de uma festa pra não ter que falar com mais ninguém.
I never understood when Hong said he was more influenced by Cezanne than any other filmmaker, until now...
And even outside of its considerable formal/structural merits, this is personal filmmaking taken to an almost unparalleled degree of self-inquiry, both for its director and lead actress - it's perhaps necessary to be aware of the South Korean media circus surrounding Hong Sang-Soo and Kim Min-Hee's affair in 2015/6 to fully understand what is happening here...also because of this it seems more collaborative than HHS's prior efforts, lending itself to a sense of equality between performer and director which I haven't experienced before. Truly remarkable...I've always liked HHS but admittedly considered him a bit slight (but that was always his…
A.V. Club review. Not particularly effective for me as cinema à clef—maybe I just know too much about Hong's personal life at the moment, but this film's uncharacteristic emotional directness feels vaguely secondhand, especially when his surrogate finally shows up. (I'd hoped that we'd never see the director at all, that he'd remain entirely past-tense.) But I'm immensely excited to see Hong experimenting with...I'm not sure whether to call it surrealism or absurdism or just inexplicable weirdness. It blows my mind that some critics (e.g. the usually perspicacious Guy Lodge in Variety) failed even to mention the recurring presence of a male figure wearing a dark coat and knit cap, who's first seen asking Young-hee for the time ("You…
"It was the same thing every day. But it was peaceful."
what i love about hong sangsoo is that his films are like having conversations. each of them unique, inviting, revealing. On the Beach at Night Alone however goes deeper in that it feels like hong sangsoo is having a conversation with himself, his relationship to film and the actors that occupy them, and with us, creating a text that is frighteningly vulnerable. vulnerability of course isn't a new concept to his films, but the meticulous camerawork that i can always expect from him blurs the line (much like he did with Right Now, Wrong Then) between audience and director. it is a fascinating conversational type of filmmaking that will never not pull me in again and again.
“Let’s get rid of all the man and love each other”
My first Hong Sang-soo film and it was delightful. Plays out soporifically as a dreamlike symphony of Schubert but not once loses touch of the apparent trademark soju realism (Hong is known for). The evening wind, the waves crashing in, faint hopes for a reconciliation and a self-reflexive confrontation, to re-encounter - even in dreams - an old wound despite knowing that it will never heal. Watching Kim Min-hee on the beach at night alone was like witnessing a piece of tracing paper slipping away in the wind, little by little until it is lost at sea.
Hong's recent work has started to upend his usual comic milieu, homing in on the tragic aspects of his characters' inability to see each other, or more accurately the gulf of emotional experience between oblivious men and the women whom they take for granted. Hong's men, so often filmmakers, have always had at least one foot in self-criticism, but here he actively puts himself on blast for his affair with Kim Min-hee; his director avatar is mostly talked about rather than seen, but the impact of his casual disregard reverberates across the entire film. Kim herself plays Younghee, reeling from the social fallout of her affair, often isolated in frame to emphasize her alienation from friends and colleagues. Landscapes become…
Kim Min-hee shines through in this film as she is constantly hungry and verbally berates people while drunk in this somber and personal semi-autobiographical picture.
this was so intimate... like watching someone’s thoughts on a screen and being afraid you’re gonna get caught.
i didn’t want it to end.
Das obras Sang-soonianas que tive contato, esta, sem dúvida, a de maior rigor formal. O autor busca extrair uma interioridade melancólica que se exprime externamente - seja nas palavras e gestos, seja no ambiente.
A reconstrução do ser pós-ruptura; um passo a passo lento para o reencontro de si. A identificação é inevitável para todos que se acidentaram no final da aventura - a volta aos amigos; o adquirir de novos hábitos; a abertura de infinitas possibilidades.
Os filmes do autor nos permitem uma rejeição que é cara ao cotidiano: quem aprecia um encontro ruim? Uma conversa ruim?
Na trama, em algumas sequências, não pude sentir o contato que ali se estabelece - exercício rigoroso de extensão do método.
wonder how it felt making something so personal to them, felt very therapeutic to me
even though I didn't know that it's the same director who made The woman who ran, the similarities made me convinced. How right I was. Not just the treatment, the story itself feels the same. Having said that, I liked it a little more than that one. Some of the actors were also common in both films as I have heard evident with most of his films. I am interested in his works anyways. These feel autobiographical mainly because he kept using the actress he is rumoured to relate to.
The pacing is deliberately slow and the narrative is divided into two acts. It's all about the woman dealing with her past relationship with a married man and hanging out…
It’s brilliant the way Hong Sang Soo uses alcohol as a lubricant for the deepest part of his characters’ subconscious to reveals itself.
~ The trouble with love is
It can tear you up inside
Make your heart believe a lie
It's stronger than your pride
The trouble with love is
It doesn't care how fast you fall
And you can't refuse the call
See you've got no say at all, oh ~
Didn't live up to its title
"I really miss him. Is he thinking of me too?"
Kei Nicro 100 films
Based on Korean Screen's vote (not mine). Source : www.koreanscreen.com/100-greatest-korean-films-100-51