Like other Hong Sang-soo films, In Our Day passes, on the surface, for simple fare. The prolific South Korean director layers weighty themes amidst naturalisti...
While it certainly wasn't a surprise in the lineup, one of our most-anticipated films premiering at Cannes––specifically at Directors' Fortnight––is the 30th f...
If one thing of late really sets Hong Sang-soo apart, it’s his unglamorous depiction of the film director. Appropriate to the small-scale of his corpus, these ...
There is a small but growing belief among critics that just as Hong Sangsoo inches toward legendary status (festival omnipresence; evangelized by Richard Brody...
It was mere weeks ago we placed a possible Hong Sang-soo film on our 2022 most-anticipated list. If nothing was announced, anything could be expected—a year wi...
Making for the ideal winter viewing, Hong Sang-soo's black-and-white drama Introduction––the first of two features to premiere on the festival circuit this yea...
“I always make mistakes,” says the emotionally vulnerable Jinsook (Oh Yun-hong) toward the end of Hong Sangsoo’s The Power of Kangwon Province. While her confe...
First paragraphs of Hong Sang-soo reviews often dwell on the Korean master’s penchant for self-repetition, soothing readers that narrow expectations will be fu...
As we expected, the pandemic was not going to stop the prolific Hong Sangsoo from completing a new film. After premiering The Woman Who Ran at Berlinale last y...
The Woman Who Ran opens on a lovely shot of hens. The camera then pulls back to show the garden of a middle-class apartment block where a woman named Youngsoon...
