By Mónica Delgado
In The Day After, one finds some subtle transformations on the narrative strategies of Hong Sang-soo had patented throughout his filmography: variations on a same theme or occurrence, where the narrator has the ability to return to a previous scene to revisit it, thus originating a double lecture of what could have been.
Por Mónica Delgado
Las dos partes que forman Right Now, Wrong Then, que por su concepto evoca a la gran Tale of Cinema, permiten mostrar nuevamente dos caras en torno al punto de vista y a los juegos retóricos, que recaen en variaciones de un guión o puesta en escena, ya motivos consagrados del universo de Hong Sang-soo.
By José Sarmiento Hinojosa
By now, Hong Sangsoo has established himself as one of contemporary cinema’s true unique voices in the globe. The construction of the absurd in the daily through a destabilization of his characters, and the hidden (or sometimes very present) cornucopia of his language and meta language of film about film …
By José Sarmiento
In Another Country sets off to a strange beginning (though not strange by its filmmaker’s standards). A young woman (Jung Yumi) and her mother (Youn Yuhjung) get together in a seaside café and have a discussion about a debt collector they are both running from.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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