“In Our Day,” the new Hong Sang-soo film premiering later this week as the Cannes Film Festival’s closing night film, has been acquired by Cinema Guild. A theatrical release is planned following its North American festival premiere later this year.
The picture stars Kim Min-hee, Song Seon-mi, Gi Ju-bong and Ha Seong-guk. This character dramedy marks Hong’s 30th feature film, this time using long, elaborate takes to articulate simple pleasures like an interspecies encounter, the discovery of a new drink and a game of rock, paper, scissors.
Also Read:
Rebel Wilson to Make Directorial Debut With Musical Comedy ‘The Deb’
“Adding to the rich tableau of his work, Hong Sang-soo’s ‘In Our Day’ not only makes us laugh, it makes us think about what it means to be alive,” Cinema Guild president Peter Kelly said in a statement. “It’s a gift that we hope continues and continues.
The picture stars Kim Min-hee, Song Seon-mi, Gi Ju-bong and Ha Seong-guk. This character dramedy marks Hong’s 30th feature film, this time using long, elaborate takes to articulate simple pleasures like an interspecies encounter, the discovery of a new drink and a game of rock, paper, scissors.
Also Read:
Rebel Wilson to Make Directorial Debut With Musical Comedy ‘The Deb’
“Adding to the rich tableau of his work, Hong Sang-soo’s ‘In Our Day’ not only makes us laugh, it makes us think about what it means to be alive,” Cinema Guild president Peter Kelly said in a statement. “It’s a gift that we hope continues and continues.
- 5/24/2023
- by Scott Mendelson
- The Wrap
Hong Sang-soo’s latest film “In Our Day,” which will premiere on closing night of Cannes’ Directors Fortnight, has been acquired by Cinema Guild for North America.
Cinema Guild will release the film in theaters following its North American festival premiere later this year.
“In Our Day” stars Kim Minhee as Sangwon, an actress who has recently returned to South Korea and is temporarily staying with her friend, Jungsoo (Song Sunmi), and her cat, Us. Elsewhere in the city, the aging poet Uiju (Ki Joobong) lives alone, his cat having recently passed away. On this ordinary day, each of them has a visitor: Sangwon is visited by her cousin, Jisoo (Park Miso) and Uiju, by a young actor,
Jaewon (Ha Seongguk). Each of them wants to learn about a career in the arts, but they also
have bigger questions.
Hong’s 30th feature outing, “In Our Day” demonstrates a new...
Cinema Guild will release the film in theaters following its North American festival premiere later this year.
“In Our Day” stars Kim Minhee as Sangwon, an actress who has recently returned to South Korea and is temporarily staying with her friend, Jungsoo (Song Sunmi), and her cat, Us. Elsewhere in the city, the aging poet Uiju (Ki Joobong) lives alone, his cat having recently passed away. On this ordinary day, each of them has a visitor: Sangwon is visited by her cousin, Jisoo (Park Miso) and Uiju, by a young actor,
Jaewon (Ha Seongguk). Each of them wants to learn about a career in the arts, but they also
have bigger questions.
Hong’s 30th feature outing, “In Our Day” demonstrates a new...
- 5/24/2023
- by Elsa Keslassy
- Variety Film + TV
Hong’s 30th feature premieres at Cannes on May 25.
Cinema Guild has acquired North American distribution rights Hong Sangsoo’s In Our Day, the closing night film of Cannes Directors’ Fortnight, in a deal with South Korea’s Finecut.
Cinema Guild said it will release Hong’s 30th feature film in theatres following its North American festival premiere later this year.
The South Korean film follows an actress and old poet who each host a visitor and dodge questions posed by their guests using food, drink and games.
The feature has already sold to key territories, including France (Capricci), Spain...
Cinema Guild has acquired North American distribution rights Hong Sangsoo’s In Our Day, the closing night film of Cannes Directors’ Fortnight, in a deal with South Korea’s Finecut.
Cinema Guild said it will release Hong’s 30th feature film in theatres following its North American festival premiere later this year.
The South Korean film follows an actress and old poet who each host a visitor and dodge questions posed by their guests using food, drink and games.
The feature has already sold to key territories, including France (Capricci), Spain...
- 5/24/2023
- by Tim Dams
- ScreenDaily
The summer season is upon us and, per each year, we’ve dug beyond studio offerings (though a few potential highlights remain) to present an in-depth look at what should be on your radar. From festival winners of the past year to selections coming straight from Cannes to genre delights to some high-flying spectacles, there’s more than enough to anticipate.
Check out our picks below and return for monthly updates as more is sure to be added to the calendar.
Happening (Audrey Diwan; May 6)
Diwan’s sophomore feature is an unglamorous, straightforward film that tells a simple story about an ordinary girl. It is also the single most intense, shatteringly empathetic thing I’ve seen all year. Carried by Anamaria Vartolomei’s fiercely committed performance, the ’60s-set drama takes on the subject of unintended pregnancy and illustrates how far from a political / religious issue it can be when it happens to you.
Check out our picks below and return for monthly updates as more is sure to be added to the calendar.
Happening (Audrey Diwan; May 6)
Diwan’s sophomore feature is an unglamorous, straightforward film that tells a simple story about an ordinary girl. It is also the single most intense, shatteringly empathetic thing I’ve seen all year. Carried by Anamaria Vartolomei’s fiercely committed performance, the ’60s-set drama takes on the subject of unintended pregnancy and illustrates how far from a political / religious issue it can be when it happens to you.
- 4/27/2022
- by The Film Stage
- The Film Stage
Earlier today the folks at the Northwest Film Center announced the full line-up for this year’s Portland International Film Festival, and have published a Pdf for all to read online. The printed copies will be making their way around town this week.
The Northwest Film Center is proud to reveal the 41st Portland International Film Festival (Piff 41) lineup. This year’s Festival begins on Thursday, February 15th and runs through Thursday, March 1st. Our Opening Night selection is the new comedy The Death of Stalin from writer/director Armando Iannucci (Veep, In the Loop). The film, adapted from the graphic novel by Fabien Nury, stars Steve Buscemi, Olga Kurylenko, Jason Isaacs, and Michael Palin. The Death of Stalin will screen simultaneously on Opening Night at the Whitsell Auditorium, located in the Portland Art Museum (1219 Sw Park Ave) and on two screens at Regal Fox Tower 10 (846 Sw Park Ave).
Check...
The Northwest Film Center is proud to reveal the 41st Portland International Film Festival (Piff 41) lineup. This year’s Festival begins on Thursday, February 15th and runs through Thursday, March 1st. Our Opening Night selection is the new comedy The Death of Stalin from writer/director Armando Iannucci (Veep, In the Loop). The film, adapted from the graphic novel by Fabien Nury, stars Steve Buscemi, Olga Kurylenko, Jason Isaacs, and Michael Palin. The Death of Stalin will screen simultaneously on Opening Night at the Whitsell Auditorium, located in the Portland Art Museum (1219 Sw Park Ave) and on two screens at Regal Fox Tower 10 (846 Sw Park Ave).
Check...
- 1/30/2018
- by Ryan Gallagher
- CriterionCast
There are filmmakers who draw the same motifs and plot points through every movie, like an artist who works with one brush and one set of watercolors, so that with every new picture, the colors become more intermixed. The prolific South Korean writer-director Hong Sang-soo (Right Now, Wrong Then, The Day He Arrives) is the most notorious example of this today, as half or more of his movies are about the romantic travails of backpack-wearing alter egos (often arthouse filmmakers) who are only in town briefly and could really use a drink and some company. A less extreme case is Matías Piñeiro, the Argentine writer-director of The Princess Of France, Viola, and Rosalinda, small films that revolve around Shakespeare plays being adapted or rehearsed by troupes of young artists. Although it’s largely set in New York City instead of Piñeiro’s usual Buenos Aires and leans less on the...
- 5/25/2017
- by Ignatiy Vishnevetsky
- avclub.com
Hong Sang-soo’s third film of 2017 (and his fourth in the last eight months), “The Day After” finds the singular Korean auteur deviating from his signature formula in some pretty seismic ways. Case in point: The selfish, horny, soju-guzzling male character at the center of this one is an emotionally confused book publisher, and not an emotionally confused movie director. Sorry, I should’ve warned you to sit down before you read that. Really though, the most striking difference between this film and the last few efforts from cinema’s drunkest one-man genre, is that “The Day After” is so black-and-white.
Hong’s first monochrome movie since releasing the exquisite “The Day He Arrives” in 2011, “The Day After” might seem poised to pick up where that film left off, but anyone who follows Hong’s career closely enough to care should know better than to expect a sequel. On the contrary,...
Hong’s first monochrome movie since releasing the exquisite “The Day He Arrives” in 2011, “The Day After” might seem poised to pick up where that film left off, but anyone who follows Hong’s career closely enough to care should know better than to expect a sequel. On the contrary,...
- 5/25/2017
- by David Ehrlich
- Indiewire
Returning to black and white for the first time since The Day He Arrives (which screened in Un Certain Regard in 2011), Hong Sangsoo returns to the Cannes competition section with The Day After, a focused rumination on love and betrayal which is, much like his other 2017 films On the Beach at Night Alone and fellow Cannes-invitee Claire's Camera, an act of bitter self-reflection. A literary critic and small publishing house boss is confronted by his wife, who believes him to be pursuing an affair with his employee. Unbeknownst to her, the woman has left her position, only to be replaced by another young woman. Mistaken the new employee for her husband's mistress, she attacks the worker when she visits the publishing house. The...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 5/22/2017
- Screen Anarchy
Ever prolific, Hong Sang-soo is back at Cannes with two different films this year. “The Day After” is premiering in Competition, while “Claire’s Camera” is set to make its bow Out of Competition. As you wait for similar materials from the latter to surface, avail yourself of the trailer, poster and photos from the former below.
Read More: ‘The Day After’ First Trailer: Hong Sang-soo Tells Another Tale of a Love Affair in Cannes Drama
Here’s the synopsis: “It is Areum’s first day of work at a small publisher. Her boss Bongwan loved and recently broke up with the woman who previously worked there. Today too, the married Bongwan leaves home in the dark morning and sets off to work. The memories of the woman who left weigh down on him. That day Bongwan’s wife finds a love note, bursts into the office, and mistakes Areum for the woman who left.
Read More: ‘The Day After’ First Trailer: Hong Sang-soo Tells Another Tale of a Love Affair in Cannes Drama
Here’s the synopsis: “It is Areum’s first day of work at a small publisher. Her boss Bongwan loved and recently broke up with the woman who previously worked there. Today too, the married Bongwan leaves home in the dark morning and sets off to work. The memories of the woman who left weigh down on him. That day Bongwan’s wife finds a love note, bursts into the office, and mistakes Areum for the woman who left.
- 5/14/2017
- by Michael Nordine
- Indiewire
Hong Sang-Soo’s ‘Yourself And Yours’ Is A Delightfully Druken Riff On Abbas Kiarostami — Nyff Review
For those familiar with the films of Hong Sang-soo, there’s really only one thing you need to know: The new one is pretty major, and not just because they drink beer this time instead of the usual soju. For those who haven’t yet been introduced to this singularly idiosyncratic Korean auteur, “Yourself and Yours” is as good a place to start as any.
But first, a quick primer: Hong Sang-soo movies have never been about what happens. Some of them are about what happened, some of them are about what could have happened, and — increasingly — some of them are about the difference between the two. Of course, the joke with Hong is that his movies are pretty much indistinguishable, these rueful, belligerently drunken comedies so similar that watching any two of them in succession is like doing one of those cartoon puzzles where you have to spot the...
But first, a quick primer: Hong Sang-soo movies have never been about what happens. Some of them are about what happened, some of them are about what could have happened, and — increasingly — some of them are about the difference between the two. Of course, the joke with Hong is that his movies are pretty much indistinguishable, these rueful, belligerently drunken comedies so similar that watching any two of them in succession is like doing one of those cartoon puzzles where you have to spot the...
- 9/30/2016
- by David Ehrlich
- Indiewire
It’s not hard to get a sense for the big movies at this year’s edition of the New York Film Festival. Ava Duvernay’s Netflix documentary “13th” will open the festival with much fanfare over its powerful message about America’s broken justice system. Ang Lee’s “Billy Lynn’s Long Halftime Walk” has many anticipating its inventive storytelling technology, and “20th Century Women” is said to be a terrific showcase for Annette Bening. Add in a number of festival favorites, from “Moonlight” to “Manchester By the Sea,” and the current edition of Nyff looks like a terrific consolidation of 2016 cinematic highlights.
But these headline-grabbing titles aren’t the whole story. A tightly-curated program assembled by a handful of discerning cinephiles, the festival offers a number of lower-profile titles that are just as worthy of your attention. Here’s a look at 10 of them.
“Aquarius”
Like so many...
But these headline-grabbing titles aren’t the whole story. A tightly-curated program assembled by a handful of discerning cinephiles, the festival offers a number of lower-profile titles that are just as worthy of your attention. Here’s a look at 10 of them.
“Aquarius”
Like so many...
- 9/28/2016
- by Eric Kohn and David Ehrlich
- Indiewire
Once the default mode, black and white has now become a bold statement of artistic intention. What that intention is, however, seems to be a little bit different for all of the recent films that have made the most of it. Often, monochrome is used as a pipeline to the past — in “Good Night, and Good Luck,” a lack of color not only speaks to how history remembers Edward R. Murrow, it also conjures the imagery of his television news broadcasts. Michael Haneke’s “The White Ribbon” similarly uses the technique to take us back in time, but is less about recreating an era than it is about establishing a chokehold of fatalistic austerity.
“The Man Who Wasn’t There” is another period piece, but the lack of color in the Coen brothers’ film — which was shot in color and then bled dry — assumes a moral quality, making Billy Bob Thornton...
“The Man Who Wasn’t There” is another period piece, but the lack of color in the Coen brothers’ film — which was shot in color and then bled dry — assumes a moral quality, making Billy Bob Thornton...
- 7/21/2016
- by Anne Thompson, David Ehrlich, Liz Shannon Miller, Steve Greene, Sarah Colvin, Chris O'Falt, Kate Halliwell, Kyle Kizu and Zack Sharf
- Indiewire
This article was published in response to Tales of Cinema: The Films of Hong Sang-soo, a complete retrospective at New York's Museum of the Moving Image. On June 23rd, Hong Sang-soo's Golden Leopard winning Right Now, Wrong Then will receive a theatrical release from Grasshopper Film. You can also read Christopher Small and Daniel Kasman's interview with Hong Sang-soo from the Locarno Film Festival here.With her back to the camera, pencil-like frame aping the posture of a nearby lighthouse that guards the border with the sea, Isabelle Huppert’s atypical protagonist in In Another Country (2012), while dozily imagining yet another iteration of the story's romantic dynamics, becomes a typical image by Hong Sang-soo: a character whose momentary break from their own dreamy game of interchangeable personalities we are suddenly, inexplicably privy to. It’s a day-dream moment that can only be reversed by a structural shift in the story; when Anne's lover,...
- 7/5/2016
- MUBI
Can we savor, for a moment, Hong Sang-soo's often exquisite taste in English-language film titles? On the Occasion of Remembering the Turning Gate, Virgin Stripped Bare By Her Bachelors, Woman Is the Future of Man, The Day He Arrives, Hill of Freedom, and now his Golden Leopard-winning latest, Right Now, Wrong Then. Between the fittingly tossed-off nature of most Hong titles (Tale of Cinema, Night and Day, Hahaha), he sometimes interjects something really beautiful, at once conceptual and mysterious. This, of course, is the nature of the films by this great South Korean director, whose always admirable modesty of form is used—radically, it must be said—to approach stories with intricate undercurrents.Right Now, Wrong Then actually begins mistakenly: the title is given as "Right Then, Wrong Now," a reversal of time and ethics, Hong's two guiding motifs in filmmaking. It is the story of a famous art movie...
- 6/24/2016
- MUBI
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Metrograph
It’s a very De Palma weekend, with Dressed to Kill showing this Friday, Scarface and Blow Out on Saturday, and The Fury this Sunday.
Looney Tunes: Back In Action screens on Saturday.
Underground New York filmmaker Beth B. is celebrated in a weekend-long retrospective.
A new 16mm print of Kapauku plays on Sunday.
BAMcinématek...
Metrograph
It’s a very De Palma weekend, with Dressed to Kill showing this Friday, Scarface and Blow Out on Saturday, and The Fury this Sunday.
Looney Tunes: Back In Action screens on Saturday.
Underground New York filmmaker Beth B. is celebrated in a weekend-long retrospective.
A new 16mm print of Kapauku plays on Sunday.
BAMcinématek...
- 6/10/2016
- by Nick Newman
- The Film Stage
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Above: Xiao Kang, a new short film by Tsai Ming-liang starring Lee Kang-shen, made as a trailer for the 2015 Viennale.Fall festival season is about to begin, and our local favorite Mill Valley Film Festival (October 8 - 18) has revealed its lineup, which includes such Notebook favorites as 45 Years, The Assassin, and Taxi.Speaking of festivals, the New York Film Festival is set to begin this weekend, and Notebook contributor Ricky D'Ambrose is premiering a new short there.Above: terrific fan posters for films by Hong Sang-soo made by Choi jee-woong. (Coincidentally, in the Us we're currently showing Hong's In Another Country and The Day He Arrives.)We love it when A.O. Scott and Manohla Dargis dig into the contemporary movie climate at the New York Times. And we love even...
- 9/23/2015
- by Notebook
- MUBI
Martin Scorsese made one of the first English-language (and one of the very first American) pushes for Hong Sang-soo by recording an introduction for the South Korean helmer’s fifth feature, Woman Is the Future of Man. The video is brief, but he amply described Hong’s perpetually mysterious, endlessly inventive eye and ear for narrative construction by quoting Manny Farber’s words on Alfred Hitchcock’s Rope: “Hong Sang-soo’s pictures unpeel like an orange.” These films are populated by familiar constructs — the two leads are often a man and a woman; the man is usually a narrow-minded dork who’s traveling through a new land and always uncomfortable, particularly within the vicinity of the woman he inevitably likes — and its scenes consist of everyday activity: drinking, walking, conversation — often ending as the man reveals himself a selfish, creepy, and / or pathetic dope — and, in his earlier films,...
- 9/18/2015
- by Nick Newman
- The Film Stage
Can we savor, for a moment, Hong Sang-soo's often exquisite taste in English-language film titles? On the Occasion of Remembering the Turning Gate, Virgin Stripped Bare By Her Bachelors, Woman Is the Future of Man, The Day He Arrives, Hill of Freedom, and now in Locarno, Right Now, Wrong Then. Between the fittingly tossed-off nature of most Hong titles (Tale of Cinema, Night and Day, Hahaha), he sometimes interjects something really beautiful, at once conceptual and mysterious. This, of course, is the nature of the films by this great South Korean director, whose always admirable modesty of form is used—radically, it must be said—to approach stories with intricate undercurrents.Right Now, Wrong Then actually begins mistakenly: the title is given as "Right Then, Wrong Now," a reversal of time and ethics, Hong's two guiding motifs in filmmaking. It is the story of a famous art movie director accidentally...
- 8/14/2015
- by Daniel Kasman
- MUBI
In reaction to protests from specialist exhibitors, the Korean Film Council (Kofic) has announced it is going ahead with the launch of a new support programme for arthouse film distribution.
The government body says the new programme was devised to “reform” and replace the former independent and arthouse specialist cinema support programme it had in place since 2002.
Kofic explains that in the more than ten years the former programme was in place, the local exhibition environment has changed. This year at Cannes, market executive director Jerome Paillard noted the greatest surge in buyers was from South Korea.
Speaking to ScreenDaily, a Kofic spokesperson said: “Recently a lot of arthouse films have been coming out in the market and foreign films have been getting the limelight.
“Some cinemas’ programming would often have popular foreign arthouse films screening in prime time while Korean films would be screening at intervals.
“Some of the cinemas have also been using support funding...
The government body says the new programme was devised to “reform” and replace the former independent and arthouse specialist cinema support programme it had in place since 2002.
Kofic explains that in the more than ten years the former programme was in place, the local exhibition environment has changed. This year at Cannes, market executive director Jerome Paillard noted the greatest surge in buyers was from South Korea.
Speaking to ScreenDaily, a Kofic spokesperson said: “Recently a lot of arthouse films have been coming out in the market and foreign films have been getting the limelight.
“Some cinemas’ programming would often have popular foreign arthouse films screening in prime time while Korean films would be screening at intervals.
“Some of the cinemas have also been using support funding...
- 7/3/2015
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
In reaction to protests from specialist exhibitors, the Korean Film Council (Kofic) has announced it is going ahead with the launch of a new support programme for arthouse film distribution.
The government body says the new programme was devised to “reform” and replace the former independent and arthouse specialist cinema support programme it had in place since 2002.
Kofic explains that in the more than ten years the former programme was in place, the local exhibition environment has changed. This year at Cannes, market executive director Jerome Paillard noted the greatest surge in buyers was from South Korea.
Speaking to ScreenDaily, a Kofic spokesperson said: “Recently a lot of arthouse films have been coming out in the market and foreign films have been getting the limelight.
“Some cinemas’ programming would often have popular foreign arthouse films screening in prime time while Korean films would be screening at intervals.
“Some of the cinemas have also been using support funding...
The government body says the new programme was devised to “reform” and replace the former independent and arthouse specialist cinema support programme it had in place since 2002.
Kofic explains that in the more than ten years the former programme was in place, the local exhibition environment has changed. This year at Cannes, market executive director Jerome Paillard noted the greatest surge in buyers was from South Korea.
Speaking to ScreenDaily, a Kofic spokesperson said: “Recently a lot of arthouse films have been coming out in the market and foreign films have been getting the limelight.
“Some cinemas’ programming would often have popular foreign arthouse films screening in prime time while Korean films would be screening at intervals.
“Some of the cinemas have also been using support funding...
- 7/3/2015
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Considering it is the halfway point in this current decade of ours, 2014 is about as good a time as many to begin making "Best of the Decade (So Far)" lists -- which I have actually attempted to do over on Letterboxd -- and it seems the fine folks over at streaming site and film blog Fandor agree, as just yesterday video essayist Kevin B. Lee posted a video that counts down the 26 best films of the decade so far, as determined by a poll he took of "290 film critics and movie lovers on Twitter and Facebook." Lee took to Slate yesterday to explain the results a bit more in-depth, including the importance of social media played in the poll, how Cannes was a better predictor than the Oscars, how movies' fortunes rise and fall over time, and more. It's an interesting read, so if you want to check it out,...
- 1/9/2015
- by Jordan Benesh
- Rope of Silicon
Reviewing Hill of Freedom at Filmmaker, Vadim Rizov notes that the tone of Hong Sang-soo's work "has swerved from potentially inconsequential farce (Like You Know It All, In Another Country) to the recent dourness and cyclical/purgatorial futility of The Day He Arrives, Nobody’s Daughter Haewon and Our Sunhi…. The degree of tonal difference and emphasis is refracted and clarified by each subsequent work." The New Yorker's Richard Brody argues that Hill is Hong's "gloss on Resnais’s first two features, Hiroshima Mon Amour and Last Year at Marienbad." We've got more reviews, the trailer and a clip. » - David Hudson...
- 9/29/2014
- Keyframe
Reviewing Hill of Freedom at Filmmaker, Vadim Rizov notes that the tone of Hong Sang-soo's work "has swerved from potentially inconsequential farce (Like You Know It All, In Another Country) to the recent dourness and cyclical/purgatorial futility of The Day He Arrives, Nobody’s Daughter Haewon and Our Sunhi…. The degree of tonal difference and emphasis is refracted and clarified by each subsequent work." The New Yorker's Richard Brody argues that Hill is Hong's "gloss on Resnais’s first two features, Hiroshima Mon Amour and Last Year at Marienbad." We've got more reviews, the trailer and a clip. » - David Hudson...
- 9/29/2014
- Fandor: Keyframe
The same trajectory through similar way stations has served Hong Sang-soo equally well from 2004′s Woman is the Future of Man onwards: ill-fated romantic and sexual encounters between men and women fueled and derailed by epic soju consumption, meetings which repeat with a disconcertingly slight degree of difference across the same locations. From such modest materials, the tone has swerved from potentially inconsequential farce (Like You Know It All, In Another Country) to the recent dourness and cyclical/purgatorial futility of The Day He Arrives, Nobody’s Daughter Haewon and Our Sunhi. For detractors, this reliance upon nearly interchangeable plots is an […]...
- 9/26/2014
- by Vadim Rizov
- Filmmaker Magazine - Blog
The same trajectory through similar way stations has served Hong Sang-soo equally well from 2004′s Woman is the Future of Man onwards: ill-fated romantic and sexual encounters between men and women fueled and derailed by epic soju consumption, meetings which repeat with a disconcertingly slight degree of difference across the same locations. From such modest materials, the tone has swerved from potentially inconsequential farce (Like You Know It All, In Another Country) to the recent dourness and cyclical/purgatorial futility of The Day He Arrives, Nobody’s Daughter Haewon and Our Sunhi. For detractors, this reliance upon nearly interchangeable plots is an […]...
- 9/26/2014
- by Vadim Rizov
- Filmmaker Magazine-Director Interviews
For his 15th feature film, director Hong Sang-soo (“In Another Country,” “The Day He Arrives”) delivers “Our Sunhi,” a playful comedy tracking film student Sunhi (Jung Yoo-mi, of several Hong films) through a trio of obstacles. Those obstacles come in the form of three usually drunk, always too confident, men. The “our” in the film’s English title belongs to those men, all three of whom become enamored with Sunhi over the course of a few days. It’s a layered phrasing, allowing for a friendly recognition of the uniqueness of the Sunhi that they all know but at the same time allows for selfish possessiveness. This word game is a great setup for the film itself as language, misunderstandings, and presumption are all themes played for some solid laughs. Returning to her alma mater, Sunhi seeks out one of her most familiar film professors (Kim Sang-joong) in hopes of...
- 5/1/2014
- by Sean Gillane
- The Playlist
Hovering around the twenty-one to twenty-four feature film mark with at least a quarter of those films belonging to first time filmmakers, the Quinzaine des Realisateurs (a.k.a Directors’ Fortnight) has in the past couple of years, counted on a healthy supply of French, Spanish and Belgium produced film items, and has been geared towards the offbeat genre items as with last year’s edition curated by Edouard Waintrop and co. To be unveiled on the 22nd, as we attempted with our Critics’ Week predix, Blake Williams, Nicholas Bell and I (Eric Lavallee) are thinking out loud and hedging our bets on what the section might look like or what the programmers might be looking at for 2014. Here is our predictions overview:
Alleluia
Six years after presenting Vinyan at the Venice Film Festival, Fabrice Du Welz finally returns with potentially not one, but a pair of works for the ’14 campaign.
Alleluia
Six years after presenting Vinyan at the Venice Film Festival, Fabrice Du Welz finally returns with potentially not one, but a pair of works for the ’14 campaign.
- 4/16/2014
- by IONCINEMA.com Contributing Writers
- IONCINEMA.com
Above: The music video for "Suit & Tie".
Justin Timberlake's "Suit & Tie" video—which premiered online way back in February—is part retro menswear fantasy, part razzle-dazzle tech demo. Directed by David Fincher and photographed by Matthew Libatique, "Suit & Tie" was the first widely-seen work to have been shot on Red's Epic Monochrome, a sensor that only images in black & white.
The Monochrome isn't the first dedicated black & white sensor. Sweden's Ikonoskop introduced one—called, no joke, the A-Cam dll Panchromatic Carl Th. Dreyer Edition—last year. The Monochrome does, however, have the distinction of being 5K—about as high-end as you can get. It represents the cutting edge of anachronism.
Last year, the Academy Award for Best Picture went to a black & white film—The Artist. Additionally, at least five major 2012 arthouse releases were in black & white: Hong Sang-soo's The Day He Arrives, Guy Maddin’s Keyhole, Béla Tarr's The Turin Horse,...
Justin Timberlake's "Suit & Tie" video—which premiered online way back in February—is part retro menswear fantasy, part razzle-dazzle tech demo. Directed by David Fincher and photographed by Matthew Libatique, "Suit & Tie" was the first widely-seen work to have been shot on Red's Epic Monochrome, a sensor that only images in black & white.
The Monochrome isn't the first dedicated black & white sensor. Sweden's Ikonoskop introduced one—called, no joke, the A-Cam dll Panchromatic Carl Th. Dreyer Edition—last year. The Monochrome does, however, have the distinction of being 5K—about as high-end as you can get. It represents the cutting edge of anachronism.
Last year, the Academy Award for Best Picture went to a black & white film—The Artist. Additionally, at least five major 2012 arthouse releases were in black & white: Hong Sang-soo's The Day He Arrives, Guy Maddin’s Keyhole, Béla Tarr's The Turin Horse,...
- 11/8/2013
- by Ignatiy Vishnevetsky
- MUBI
Though Hong Sang-soo’s In Another Country premiered in Cannes over a year ago it was only just released in Japan last month. No doubt due to the presence of Isabelle Huppert the film has become perhaps Hong’s most widely released film internationally, with its summery charms inspiring a number of different posters.
The lovely Japanese design (the title translates roughly as “Anne of 3 people”) seems to center not on Huppert’s Anne but on the film’s breakout star Yu Junsang. But more of him in a minute.
The Mexican poster places Huppert on a beautiful map of Korea:
The illustrated Italian poster:
The original Korean poster...
...with title variations for the Portuguese and American releases:
And some fan art I discovered on the web, from the Tumblr No Whip No Syrup:
Anyone who has seen In Another Country would not quickly forget Yu Junsang. Yu also appeared...
The lovely Japanese design (the title translates roughly as “Anne of 3 people”) seems to center not on Huppert’s Anne but on the film’s breakout star Yu Junsang. But more of him in a minute.
The Mexican poster places Huppert on a beautiful map of Korea:
The illustrated Italian poster:
The original Korean poster...
...with title variations for the Portuguese and American releases:
And some fan art I discovered on the web, from the Tumblr No Whip No Syrup:
Anyone who has seen In Another Country would not quickly forget Yu Junsang. Yu also appeared...
- 7/19/2013
- by Adrian Curry
- MUBI
Unless you're jonesing for the new seasons of Kelsey Grammar's "Boss" and BBC's "Merlin," or the stand-up comedy of Gabriel "Fluffy" Iglesias, it's undeniably a weak week for home-video headliners. Bill Murray's Fdr impression is more sit-down (and hold the comedy) in the middlebrow, miscalculated crowd-pleaser "Hyde Park on Hudson," and even the Jet Li action-fantasy spectacle "The Sorcerer and the White Snake" can't be saved by glossy production design or fizzy CGI effects from becoming a silly, swollen mess. Per usual, you're better off feeding your eyes and ears on indie and international cuisines: "In Another Country" (Kino Lorber) Typically, the films of prolific South Korean auteur Hong Sang-soo ("The Day He Arrives," "Woman on the Beach," "Virgin Stripped Bare by Her Bachelors") have certain trademarks, from self-consciously segmented structures and awkward zooms (the latter appearing in most of his films since 2005's "Tale of Cinema"), to themes of masculine.
- 4/9/2013
- by Aaron Hillis
- Indiewire
It was hard to whittle down my favorite movie posters to a straight top ten this year. There was no absolute stand-out like Chris Ware’s Uncle Boonmee last year, and the majority of film posters continue to be depressingly rote and uninspired, even though the explosion of Diy illustration has started to make inroads into the world of commercial film promotion. As a symptom of my indecision I have tended to group posters together more than usual; laid out like this the year doesn’t look half bad.
1. Wreck-it Ralph (with The Lorax and Life Of Pi)
On its own the Wreck-It Ralph teaser would still have been one of the best posters of the year—a wittily simple 8-bit pixellated key-stroke of genius that compresses a blockbuster 3D extravaganza into a flat, three-color arrangement of squares and tells everyone walking by exactly what they need to know (except...
1. Wreck-it Ralph (with The Lorax and Life Of Pi)
On its own the Wreck-It Ralph teaser would still have been one of the best posters of the year—a wittily simple 8-bit pixellated key-stroke of genius that compresses a blockbuster 3D extravaganza into a flat, three-color arrangement of squares and tells everyone walking by exactly what they need to know (except...
- 1/5/2013
- by Adrian Curry
- MUBI
With all the year's films now out in U.S. theaters, Metacritic.com has revealed what films and TV shows were the best of the year based on the aggregate scores of the top critics.
I've divided the lists into three sections - films, TV shows and major console games - specifically PS3 & 360. Check out the scores below:
Best Films
This list does Not include old film re-releases such as "Wake in Fright" and "A Man Vanishes". Films also have to have At Least ten reviews to be considered, which is why high scoring works like "Almayer's Folly," "The Gatekeepers" and "Paradise Lost 3: Purgatory" are not included.
"Zero Dark Thirty" - 95/100
"Amour" - 92/100
"This Is Not a Film" - 90/100
"Barbara" - 88/100
"Elena," "How to Survive a Plague," "The Kid with a Bike" - 87/100
"Argo," "Beasts of the Southern Wild," "Lincoln," "The Master" - 86/100
"Holy Motors," "Looper," "Moonrise Kingdom," "Oslo August 31st,...
I've divided the lists into three sections - films, TV shows and major console games - specifically PS3 & 360. Check out the scores below:
Best Films
This list does Not include old film re-releases such as "Wake in Fright" and "A Man Vanishes". Films also have to have At Least ten reviews to be considered, which is why high scoring works like "Almayer's Folly," "The Gatekeepers" and "Paradise Lost 3: Purgatory" are not included.
"Zero Dark Thirty" - 95/100
"Amour" - 92/100
"This Is Not a Film" - 90/100
"Barbara" - 88/100
"Elena," "How to Survive a Plague," "The Kid with a Bike" - 87/100
"Argo," "Beasts of the Southern Wild," "Lincoln," "The Master" - 86/100
"Holy Motors," "Looper," "Moonrise Kingdom," "Oslo August 31st,...
- 12/31/2012
- by Garth Franklin
- Dark Horizons
With all the year's films now out in U.S. theaters, Metacritic.com has revealed what films and TV shows were the best of the year based on the aggregate scores of the top critics.
I've divided the lists into three sections - films, TV shows and major console games - specifically PS3 & 360. Check out the scores below:
Best Films
This list does Not include old film re-releases such as "Wake in Fright" and "A Man Vanishes". Films also have to have At Least ten reviews to be considered, which is why high scoring works like "Almayer's Folly," "The Gatekeepers" and "Paradise Lost 3: Purgatory" are not included.
"Zero Dark Thirty" - 95/100
"Amour" - 92/100
"This Is Not a Film" - 90/100
"Barbara" - 88/100
"Elena," "How to Survive a Plague," "The Kid with a Bike" - 87/100
"Argo," "Beasts of the Southern Wild," "Lincoln," "The Master" - 86/100
"Holy Motors," "Looper," "Moonrise Kingdom," "Oslo August 31st,...
I've divided the lists into three sections - films, TV shows and major console games - specifically PS3 & 360. Check out the scores below:
Best Films
This list does Not include old film re-releases such as "Wake in Fright" and "A Man Vanishes". Films also have to have At Least ten reviews to be considered, which is why high scoring works like "Almayer's Folly," "The Gatekeepers" and "Paradise Lost 3: Purgatory" are not included.
"Zero Dark Thirty" - 95/100
"Amour" - 92/100
"This Is Not a Film" - 90/100
"Barbara" - 88/100
"Elena," "How to Survive a Plague," "The Kid with a Bike" - 87/100
"Argo," "Beasts of the Southern Wild," "Lincoln," "The Master" - 86/100
"Holy Motors," "Looper," "Moonrise Kingdom," "Oslo August 31st,...
- 12/31/2012
- by Garth Franklin
- Dark Horizons
2012 wasn’t a bad year for movies. It was actually a great year. The problem is, the movies we were most anticipating, specifically the Hollywood blockbusters like Prometheus and The Hobbit, didn’t live up to our expectations. With that said I still managed to make a list of 50 films I loved. Maybe I just have bad taste or maybe I just love movies but the most time consuming factor when making this list was sitting down and deciding what makes the cut and what doesn’t. Even with 50 films listed below, I found it hard to not include movies like Frankenweenie, The Loneliest Planet, Footnote, Compliance, Jiro Dreams of Sushi, Ai Weiwei: Never Sorry, and Searching For Sugar Man. Come to think of it, every film featured on our list of best documentaries could have easily snuck into this list. I haven’t seen everything of course. Below is...
- 12/23/2012
- by Ricky
- SoundOnSight
Hong Sangsoo remains an enigma of South Korean cinema. While Park Chan-wook, Kim Ji-woon and a host of copy cat directors fill big box theaters with copious amounts of violence and stylized shock tactics (to often brilliant effect, let’s admit), Sangsoo continues to work the art house crowd with his classically influenced brand of off-beat humor that subtly plays with the conception of form on the fly, calling into question the validity of previous actions. The 2011 Cannes (Un Certain Regard) selected The Day He Arrives sees its familiar characters continually wander the awkward landscape between opposing sexes that the auteur seems to be so fascinated by, but it is in the seemingly minute details in which Sangsoo’s playfulness becomes the real fascination.
Like many of the Korean helmer’s previous works, his lead seems a piece of the filmmaker himself, a former director by trade, a bit of...
Like many of the Korean helmer’s previous works, his lead seems a piece of the filmmaker himself, a former director by trade, a bit of...
- 11/20/2012
- by Jordan M. Smith
- IONCINEMA.com
Contre the majority of premieres at Cannes this year—prestigious, important, calculated—are films like Apichatpong's Mekong Hotel and, in competition, Hong Sang-soo's In Another Country: modest, lo-fi, open works made congenially with small groups of friends and collaborators in short periods of time, asking nothing more than that the people on camera engage in interesting—and often unexpected—ways with their material. For these movies, the pleasures come organically with this direct yet casual, almost intimate or private kind of interaction, a complicity between performers and the camera. They are open invitations.
After the more considered, poised and tender The Day He Arrives, Hong's latest seems spontaneous, looser and more wandering, taking on the form and feeling of its heroine's uneasy, limbo-like state. Opening with a framing device whose plot is never returned to, In Another Country is the visualization of a young female filmmaker's idle screenplay ideas,...
After the more considered, poised and tender The Day He Arrives, Hong's latest seems spontaneous, looser and more wandering, taking on the form and feeling of its heroine's uneasy, limbo-like state. Opening with a framing device whose plot is never returned to, In Another Country is the visualization of a young female filmmaker's idle screenplay ideas,...
- 11/10/2012
- by Daniel Kasman
- MUBI
Acclaimed Korean director and international festival favourite Hong Sang Soo returns with “In Another Country”, his 15th outing and another playful meditation on life and relationships, washed down as ever with plenty of alcohol. The film represents somewhat of a coup for Hong, seeing him recruiting multiple international award winning French actress Isabelle Huppert for his female lead, who in her career has worked with such legendary helmers as Jean-Luc Godard, Claude Chabrol and Michael Haneke to name but a few. In addition to Huppert, the film reunites the director with Moon Sung Keun (“Oki’s Movie) and Yoo Jun Sang (“The Day he Arrives”), with Kwon Hae Hyo (“Cyrano Agency”), Moon So Ri (excellent in Lee Chang Dong’s “Oasis”) and Yoon Yeo Jeong, (“The Housemaid”) also in the cast. As he has in the past, Hong splits the film into three narratively separate, though thematically overlapping stories which...
- 10/12/2012
- by James Mudge
- Beyond Hollywood
Welcome to the second edition of the best of Korean new wave cinema, here on sound of sight. A running series of articles that comes out every two weeks, in it we look at the best 21st century Korea has to offer on cinema screens. Whether that is big names like Park Chan Wook and Kim Jee Woon or unknown curios that deserve the coverage. Each article will cover two thematically similar films, this time its two films from 2011 in Sang-Soo Hong’s The Day he arrives, and Sung-Hyun Yoon’s, Bleak Night.
****
The Day He Arrives
Directed by Sang-Soo Hong
Screenplay by Sang-Soo Hong
2011, Korea
The Day He Arrives is a 2011 film by director Sang-Soo Hong about a director who now teaches in the Korean Countryside returning to Seoul for a weekend. At first Sungjoon (Jun-Sang Yu) wanders around town, phoning people and happens upon an actor he worked with,...
****
The Day He Arrives
Directed by Sang-Soo Hong
Screenplay by Sang-Soo Hong
2011, Korea
The Day He Arrives is a 2011 film by director Sang-Soo Hong about a director who now teaches in the Korean Countryside returning to Seoul for a weekend. At first Sungjoon (Jun-Sang Yu) wanders around town, phoning people and happens upon an actor he worked with,...
- 9/20/2012
- by Rob Simpson
- SoundOnSight
Hong Sang-soo's 13th film In Another Country which stars French thesp Isabelle Huppert and is currently competing in the main section of the Cannes film festival where it hopes to nab some accolades this Sunday, has been acquired by Kino Lorber for distribution in the United States. While Hong has long been a reputable name on the festival circuit his films have not had much theatrical exposure with the exception of France. However, over the last six months things have started to heat up a little with the DVD release of 2008 feature Night and Day, which was previously unavailable and the theatrical releases of both Oki's Movie (2010) and The Day He Arrives (2011) earlier this year courtesy of Cinema Guild.With In Another Country...
- 5/26/2012
- Screen Anarchy
Contre the majority of films at Cannes—prestigious, important, calculated—are films like Apichatpong's Mekong Hotel and, in competition, Hong Sang-soo's In Another Country: modest, lo-fi, open works made congenially with small groups of friends and collaborators in short periods of time, asking nothing more than that the people on camera have engage in interesting—and often unexpected—ways with their material. For these movies, the pleasures come organically with this direct yet casual, almost intimate or private kind of interaction complicity between performers and the camera. They are open invitations.
After the more considered, poised and tender The Day He Arrives, Hong's latest seems spontaneous, looser and more wandering, taking on the form and feeling of its heroine's uneasy, limbo-like state. Opening with a framing device whose plot is never returned to, In Another Country is the visualization of a young female filmmaker's idle screenplay ideas, written while...
After the more considered, poised and tender The Day He Arrives, Hong's latest seems spontaneous, looser and more wandering, taking on the form and feeling of its heroine's uneasy, limbo-like state. Opening with a framing device whose plot is never returned to, In Another Country is the visualization of a young female filmmaker's idle screenplay ideas, written while...
- 5/23/2012
- MUBI
Hong Sang – Soo‘s new project titled In Another Country is one of the movies that has been selected to compete for the Palme d’Or at this year’s Cannes Film Festival. We have the first teaser trailer, some images and a poster for the movie to share with you today, and I’m sure you’re going [...]
Continue reading Cannes 2012: In Another Country by Hong Sang-Soo Starring Isabelle Huppert on FilmoFilia.
Related posts: Isabelle Huppert To Head Cannes Film Festival 2009 Jury Cannes 2011: The Day He Arrives by Hong Sang-soo, Un Certain Regard Cannes 2012: The Taste Of Money by Im Sang-soo...
Continue reading Cannes 2012: In Another Country by Hong Sang-Soo Starring Isabelle Huppert on FilmoFilia.
Related posts: Isabelle Huppert To Head Cannes Film Festival 2009 Jury Cannes 2011: The Day He Arrives by Hong Sang-soo, Un Certain Regard Cannes 2012: The Taste Of Money by Im Sang-soo...
- 4/26/2012
- by Fiona
- Filmofilia
Hong Sang-soo's style—visual and narrative repetition, long takes, zooms substituted for cuts, and cuts that are more like ellipses than commas or semicolons—lends his movies a wonky sense of space and time.
Take, for example, Hong's new film, The Day He Arrives (2011)—a modest, graceful movie about a film director (Yu Jun-sang) coming back to Seoul after some time away. There's some debate as to whether the film takes place over several consecutive days or whether it represents variations on the same day; the most accurate answer is probably "both," with some strands of the plot proceeding chronologically, and others seemingly stuck in a time-loop. The director's repeat encounters with a friendly actress and a group of film students, for instance, clearly happen over several days; in contrast, his evening trips to Novel—a small bar where he and his friends seem to be the only customers—are fuzzier in terms of chronology.
Take, for example, Hong's new film, The Day He Arrives (2011)—a modest, graceful movie about a film director (Yu Jun-sang) coming back to Seoul after some time away. There's some debate as to whether the film takes place over several consecutive days or whether it represents variations on the same day; the most accurate answer is probably "both," with some strands of the plot proceeding chronologically, and others seemingly stuck in a time-loop. The director's repeat encounters with a friendly actress and a group of film students, for instance, clearly happen over several days; in contrast, his evening trips to Novel—a small bar where he and his friends seem to be the only customers—are fuzzier in terms of chronology.
- 4/25/2012
- MUBI
We've had glimpses here and there of Isabelle Huppert and co. in Hong Sang-soo's latest dramedy "In Another Country" but with its recent addition to the Cannes Film Festival competition line up, the first teaser trailer has been unveiled which shows... well, a signature quirky Hong film.
With her involvement born out of her outspoken love for Korean cinema, here Huppert is playing three different characters all named Anne who consecutively visit a seaside town, stay at the same small hotel by the shore, venture onto the beach and meet the same group of people, including a certain lifeguard who restlessly wanders up and down the beach. Yu Jun-sang gets second billing on the poster as the lifeguard with Moon Seong-geun, Moon So-ri, Yoon Yeo-jeong and Jeong Yu-mi also co-starring.
While the trailer shows nothing substantial by way of plot, we're not expecting anything much more complex than the...
With her involvement born out of her outspoken love for Korean cinema, here Huppert is playing three different characters all named Anne who consecutively visit a seaside town, stay at the same small hotel by the shore, venture onto the beach and meet the same group of people, including a certain lifeguard who restlessly wanders up and down the beach. Yu Jun-sang gets second billing on the poster as the lifeguard with Moon Seong-geun, Moon So-ri, Yoon Yeo-jeong and Jeong Yu-mi also co-starring.
While the trailer shows nothing substantial by way of plot, we're not expecting anything much more complex than the...
- 4/25/2012
- by Simon Dang
- The Playlist
The Taste of Money is a great title. C’mon, admit it! You immediately know that it’s some kind of mix between desire, love, hate and sex… Of course, let’s not forget some strange murder! There you go – a simplified version of the plot for the Im Sang-soo‘s movie which will compete for the Palme [...]
Continue reading Cannes 2012: The Taste Of Money by Im Sang-soo on FilmoFilia.
Related posts: Cannes 2011: The Day He Arrives by Hong Sang-soo, Un Certain Regard The Housemaid by Im Sang-Soo, Cannes 2010 Cannes 2012 Line-Up...
Continue reading Cannes 2012: The Taste Of Money by Im Sang-soo on FilmoFilia.
Related posts: Cannes 2011: The Day He Arrives by Hong Sang-soo, Un Certain Regard The Housemaid by Im Sang-Soo, Cannes 2010 Cannes 2012 Line-Up...
- 4/25/2012
- by Fiona
- Filmofilia
The primary reason why "Groundhog Day" works (besides the casting, pacing, easygoing charm and humor) is that the little town of Punxsutawney is the physical embodiment of what we all feel occasionally: a startling inability, even for a moment, to tell one day from the next. Call it a forced sense of deja vu, it's what Seongjun (Jun-Sang Yu), the lead of Hong Sang-soo's patient and trying "The Day He Arrives" is experiencing.
Seongjun, a film director who's uneasily transitioned to teaching, is listless in a way that seems to impact not only his everyday, but also that of his friends and lovers. In the course of 79 minutes, Hong Sang-soo's film lays out several days (but how many?) starting with Seongjun's visit to Seoul. The character keeps running into the same people, going out for drinks at the same place and romancing women in the same way. Intentional? Naturally, but...
Seongjun, a film director who's uneasily transitioned to teaching, is listless in a way that seems to impact not only his everyday, but also that of his friends and lovers. In the course of 79 minutes, Hong Sang-soo's film lays out several days (but how many?) starting with Seongjun's visit to Seoul. The character keeps running into the same people, going out for drinks at the same place and romancing women in the same way. Intentional? Naturally, but...
- 4/21/2012
- by Mark Zhuravsky
- The Playlist
One of today's biggest announcements about the Cannes Film Festival's lineup was the fact that David Cronenberg will be bringing the madness that is Cosmopolis to the Croisette come May. And now, we have a new trailer for it.
Read more on Full length Cosmopolis trailer hits after being announced for Cannes Film Festival...
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Other articles that you might like: Cannes 2011: Les Bien-aimes closing the festival; trailer for The Day He Arrives hits On The Road and Cosmopolis heading to Cannes? Canadian Content: Two Cronenbergs represent at this year’s Cannes Film Festival...
Read more on Full length Cosmopolis trailer hits after being announced for Cannes Film Festival...
Other articles that you might like:
Cannes 2011: Les Bien-aimes closing the festival; trailer for The Day He Arrives hits On The Road and Cosmopolis heading to Cannes? Canadian Content: Two Cronenbergs represent at this year’s Cannes Film Festival
Other articles that you might like: Cannes 2011: Les Bien-aimes closing the festival; trailer for The Day He Arrives hits On The Road and Cosmopolis heading to Cannes? Canadian Content: Two Cronenbergs represent at this year’s Cannes Film Festival...
- 4/19/2012
- by Joshua Brunsting
- GordonandtheWhale
Capsule Options is a new weekly column intended to provide reviews of nearly every new indie release. This week's capsules are written by Indiewire's Chief Film Critic, Eric Kohn along with other contributors as noted. Reviews This Week: "Darling Companion" "The Day He Arrives" "Downtown Express" "Fightville" "The Giant Mechanical Man" "Goodbye First Love" "Marley" "The Moth Diaries" "My Way" "Oki's Movie" "Sleepless Night" "Snow on tha Bluff" "Zombie Dawn" "Darling Companion" Lawrence Kasdan's career is largely defined by refined character-driven storytelling ("The Big Chill," "The Accidental Tourist"), and his screenwriting credits on eighties blockbusters prove he knows how to move things along at an exciting pace. This makes the...
- 4/19/2012
- by Indiewire
- Indiewire
"Not many people have seen my films," says Seongjun (Jun-Sang Yu), the impulsive filmmaker at the center of "The Day He Arrives," the latest characteristically rambling character study from Korean director Hong Sang-soo. In one of many cases where art imitates life in a Hong movie, Seongjun's complaint reflects the general unfamiliarity with Hong's work in the United States. Churning out curiously structured narrative experiences in a roughly one-film-a-year cycle, Hong has crafted a dozen features since 1996's "The Day the Pig Fell Into the Well" (his next one, "In Another Country," is expected at Cannes next month). Despite the sizable filmography and a distinctive voice holding it together, festival awards and plenty of critical acclaim, Hong remains a storyteller whose talents are known only by a privileged few. Fortunately, "The Day He Arrives," the first Hong movie released in the U.S. since "Woman on the...
- 4/16/2012
- by Eric Kohn
- Indiewire
Third poster for Hong Sangsoo's The Day He Arrives. Starring in The Day He Arrives which opens in May, are Yu Jun-Sang, Kim Sang Jung, Kim Bo-kyung are Song Seon-mi. Hong Sang-soo directs as well as scripting the drama from Cinema Guild. A delightful film of repeating patterns and circumstance, The Day He Arrives is a meditation on relationships, filmmaking, and the unknowable forces that govern our lives. Seongjun, a film director who no longer makes films, goes to Seoul to meet a close friend. When the friend doesn’t show up, Seongjun begins to wander the city aimlessly. He runs into an actress he used to know, shares a drink with some young film students, then, against his better judgment, heads to his ex-girlfriend’s apartment...
- 3/7/2012
- Upcoming-Movies.com
The 2011 Sitges Film Festival, held 6-16 October on the Catalan coast of Spain, has released information on the films that will comprise the fest's "Noves Visions" section, which promises to be a category dedicated to the most innovative and transgressive approaches. Several genre films are represented, and we have the full rundown here.
The films are divided into four categories, three of which can be found below. We're including all the films in these three sections as even if some aren't pure horror, they sound intriguing enough to be of interest to genre fans. The fourth category is comprised solely of documentaries. Be sure to visit the official Sitges Film Festival website for full details on "Noves Visions" and more!
Ficció:
A selection that combines big names in contemporary film with young artists appearing around the festival circuit.
- The Day He Arrives (Sang-soo Hong): A game of meta-language...
The films are divided into four categories, three of which can be found below. We're including all the films in these three sections as even if some aren't pure horror, they sound intriguing enough to be of interest to genre fans. The fourth category is comprised solely of documentaries. Be sure to visit the official Sitges Film Festival website for full details on "Noves Visions" and more!
Ficció:
A selection that combines big names in contemporary film with young artists appearing around the festival circuit.
- The Day He Arrives (Sang-soo Hong): A game of meta-language...
- 8/24/2011
- by The Woman In Black
- DreadCentral.com
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