Some authors are at risk, with each new film from falling into the abyss of authorial narcissism and unconscious self-congratulation. Could mentor Hong Sang Soo within this group, but so far has managed to save, and do it again in his latest creation, free and unbiased "Like You Know It All."
After "Night and day", a film something different than what we were used so far (as far as is possible in Hong), harsher and perhaps more complex, the latest film from Korean director us back to that universe that plays with the suspension of fiction by introducing it in full, in an autobiographical play real or pretended, it hardly matters. Again the protagonist is a film director, and again it was someone drawn from the environment, by circumstances, without being quite able to react in an appropriate manner. Between apathetic and moody, the protagonist is both victim and guilty and ironic (even vitriolic, cruel thing) that Hong Sang Soo poured over it does not delight in compassion, but rather examine their contradictions, which are all human, and conclusions are never clear. Because as they say in a piece of film, Probalan most explicit in terms of film-critical theory of the race from Hong Kong, a movie does not have to show beautiful images and clear messages ("No clear messages. At best, ambiguous "). Hong resolute commitment to freedom, it is even said that the most important thing in life is freedom, but in the film shows the impossibility of achieving that freedom. The protagonist defines this freedom as "the strength to concentrate on one's true desires," and says that "we are unnecessarily happy, because pursuing false ideals and wishes of others." On the other hand, he, the author of films, apparently, quite personal, but little public prestige, secretly longs to get a blockbuster, and even dreams of having an excuse that would respond to their films without losing the pride of giving in to his ideals and its alleged freedom and independence. Therefore, this ambiguity results in an imbalance that operates at all levels, especially in the emotional, unable to straighten out any curve that the minimum target set before him. Can not and ends up complicating things. And those emotional derangement come to be the trigger of his life, because everything else invades, and the movie shows that this utopia to separate the personal and professional manuals should stay in the business.
"Like You Know It All" seems to establish direct continuity with "Woman on the Beach" and, as in this and in many others, the sea, the beach, play a role decisive symbolic, as the place of calm that I would like to access the player without being able to ever get to him. And between lightness and depth moves the film with his long sequence shots and a naturalism that is rohmeriano lot of enjoy the moment and delight at the seemingly banal. Because Hong celebrate life at every moment, for better or for worse, between binges, alcohol bottles and sliding sheets. Hong plays with his movies and shows those hidden springs of all human beings that move in an apparent randomness, jumping from calm to anger and suspicion to the need for communication and affection. Because, after all, much as we try to deny it and how strong we create, we all need and are vulnerable in terms of environment an eyelid.
After "Night and day", a film something different than what we were used so far (as far as is possible in Hong), harsher and perhaps more complex, the latest film from Korean director us back to that universe that plays with the suspension of fiction by introducing it in full, in an autobiographical play real or pretended, it hardly matters. Again the protagonist is a film director, and again it was someone drawn from the environment, by circumstances, without being quite able to react in an appropriate manner. Between apathetic and moody, the protagonist is both victim and guilty and ironic (even vitriolic, cruel thing) that Hong Sang Soo poured over it does not delight in compassion, but rather examine their contradictions, which are all human, and conclusions are never clear. Because as they say in a piece of film, Probalan most explicit in terms of film-critical theory of the race from Hong Kong, a movie does not have to show beautiful images and clear messages ("No clear messages. At best, ambiguous "). Hong resolute commitment to freedom, it is even said that the most important thing in life is freedom, but in the film shows the impossibility of achieving that freedom. The protagonist defines this freedom as "the strength to concentrate on one's true desires," and says that "we are unnecessarily happy, because pursuing false ideals and wishes of others." On the other hand, he, the author of films, apparently, quite personal, but little public prestige, secretly longs to get a blockbuster, and even dreams of having an excuse that would respond to their films without losing the pride of giving in to his ideals and its alleged freedom and independence. Therefore, this ambiguity results in an imbalance that operates at all levels, especially in the emotional, unable to straighten out any curve that the minimum target set before him. Can not and ends up complicating things. And those emotional derangement come to be the trigger of his life, because everything else invades, and the movie shows that this utopia to separate the personal and professional manuals should stay in the business.
"Like You Know It All" seems to establish direct continuity with "Woman on the Beach" and, as in this and in many others, the sea, the beach, play a role decisive symbolic, as the place of calm that I would like to access the player without being able to ever get to him. And between lightness and depth moves the film with his long sequence shots and a naturalism that is rohmeriano lot of enjoy the moment and delight at the seemingly banal. Because Hong celebrate life at every moment, for better or for worse, between binges, alcohol bottles and sliding sheets. Hong plays with his movies and shows those hidden springs of all human beings that move in an apparent randomness, jumping from calm to anger and suspicion to the need for communication and affection. Because, after all, much as we try to deny it and how strong we create, we all need and are vulnerable in terms of environment an eyelid.
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