Films byTexts by Hong Sang-soo
FILM
Hong Sang-soo, 2018, 96’

“Hong captures these contrasting dramas in typically unadorned style, utilizing the hotel as both a symbolic space of refuge and reconciliation and a practical setting for the comings and goings of a variety of personalities (although, curiously, these five seem to be the hotel’s only visitors –

FILM
Hong Sang-soo, 2018, 66’

“The owner of a cafe in a traditional district of Seoul is never shown. But we do discover he likes classical music.

ARTICLE EN
7.02.2018

In The Day He Arrives, a soju-fueled cross between Last Year at Marienbad and Groundhog Day, Yoo Seongjun, a lapsed director self-exiled to the provinces, roams the streets and bars of Seoul much as X wanders the hallways and gardens of Marienbad, through an endless repetition of settings, characters, and incidents, each reiteration calling previous accounts into question. “I don’t remember a thing,” the bar owner Ye-jeon insists after Seongjun apologizes for what something he has just done, her protestation recalling A’s many disavowals of the past in Marienbad. Whose version does one trust: his, hers, neither?

ARTICLE NL EN
24.01.2018

Hong Sang-soo zal deze referentie naar Cézanne, die hij vaak aanhaalt, kunnen waarderen, alsook mijn bedachtzaamheid als ik over hem spreek. Hij is als een geschonken boek, waarvan we ontdekken dat bepaalde bladzijdes zorgvuldig zijn uitgescheurd en dat zodoende plotseling alles ontbreekt. Zijn films hebben onze toestemming niet nodig, ze eisen een totale omarming.

ARTICLE NL EN
24.01.2018
Claire Denis 2005
Translated by

Hong Sang-soo will appreciate the reference to Cézanne, whom he often quotes, and my caution when talking about him. He is like an offered book, of which we discover that certain pages have been carefully torn out and therefore everything is suddenly missing. His films don’t need our agreement; they require total rallying.

note FR EN
19.01.2018

Coinciding with the start of the Hong Sang-soo retrospective at CINEMATEK, a new book (in French) on the filmmaker has just been published.

note FR EN
19.01.2018

Coïncidant avec le début de la rétrospective Hong Sang-soo au CINEMATEK, un nouveau livre sur le cinéaste vient d'être publié.

note EN
17.01.2018

On the occasion of CINEMATEK’s Hong Sang-soo retrospective, Sabzian, Courtisane and CINEMATEK compiled, edited and published a modest publication that aims to trace the development of Hong’s remarkable body of work through a collection of essays and interviews.

ARTICLE FR EN
17.01.2018

Poetic by its precision, attentive to duration, to the uncertainty of the moment, to outlined movements and to what they betray or control: Hong Sang-soo’s cinema seems to consist only of details, of contingent moments that suddenly get out of hand or explode. “I never aim for generalization; there’s never a global view on society at the origin of a film or even a shot. It seems to me that reality can only appear between the cracks of discrete, hypothetic, uncertain elements. I am wary of clichés and big expressions. I do not believe, for example, that something we could call ‘the’ contemporary Korea exists. I never try to share a truth, but only approximations.”

ARTICLE FR EN
17.01.2018

Poétique à force de précision, attentif aux durées, aux incertitudes de l'instant, aux mouvements esquissés et à ce qu’ils trahissent ou réfrènent, le cinéma de Hong Sang-soo semble n’être constitué que de détails, de moments contingents, qui soudain dérapent ou explosent. « Je ne vise jamais la généralisation ; le point de vue global sur la société n’est jamais à l’origine d’un film, ou même d’un plan. Il me semble que la réalité ne peut apparaître qu’entre les interstices d’éléments discrets, hypothétiques, incertains. Je me méfie des clichés et des grandes phrases, je ne crois pas, par exemple, qu’il existe ce qu’on pourrait appeler “la” Corée contemporaine. Je ne cherche jamais à faire partager une vérité, mais des approximations. »

FILM
In Another Country
Hong Sang-soo, 2012, 89’

“The construction of In Another Country, with its triple role for Isabelle Huppert and its recurring characters, is as much based on the pure experience of the chemistry of feelings (consecutively bringing three women into an a priori identical environment and observing the different rea

FILM
Woman on the Beach
Hong Sang-soo, 2006, 127’

“In Hong’s latest, Woman on the Beach, which is something of a career summation, his self-reproach takes on a more mordant tone.

FILM
Virgin Stripped Bare by Her Bachelors
Hong Sang-soo, 2000, 126’

“Reiteration becomes reversal in Virgin Stripped Bare by Her Bachelors (2000), the most complicated instance of Hong’s doubling.

FILM
On the Occasion of Remembering the Turning Gate
Hong Sang-soo, 2000, 115’

“His work teems with Hong look-alikes, alter egos, and surrogates, most of them self-absorbed, obtuse, feckless, forever doing the wrong thing: insisting on paying a host for a home-cooked meal; crying out the name of another woman in the middle of sex; drunkenly demanding a blowjob from a long-a

FILM
Hong Sang-soo, 2011, 29’

1. Take a walk through the village.

2. Take a walk on the beach.

3. Have lunch at a famous restaurant.

4. Collect a pretty shell or a nice souvenir.

5. See if there are tours through the mud flats.

6. Find someone to play badminton with.

FILM
Hong Sang-soo, 2010, 115’

“In Hong Sang-soo’s work there is a constant trait, which is neither really stylistic (it’s not a matter of form), nor frankly thematic (it’s not a matter of content either), and which returns, like a butterfly – and even, as its course is erratic, like a moth, the ultimate uncatchable insect.

FILM
The Power of Kangwon Province
Hong Sang-soo, 1998, 110’

The Power of Kangwon Province (1998): leaving with a friend to tour this tourist-province par excellence, the hero puts a secretary at his university in charge of taking care of two goldfish.

FILM
The Day He Arrives
Hong Sang-soo, 2011, 79’

“Near the end of Alain Resnais’ masterpiece Muriel, a man sings a music hall chanson about time and memory that mournfully repeats the word déjà to emphasize the rue of those who “fear the future, regret the past.” He could be describing Hong Sang-soo’s aimless characters – “I have nowhe

FILM
Tale of Cinema
Hong Sang-soo, 2005, 89’

“I don’t think you really understood the film.”

Yong-sil in Geuk jang jeon [Tale of Cinema] (2005)

 

FILM
Woman Is the Future of Man
Hong Sang-soo, 2004, 88’

Woman Is the Future of Man. Some years ago, I found this sentence by Aragon, in the Quartier Latin, on a postcard. I liked it. I knew that it was going to stay with me, but I didn’t really know why.

FILM
The Day a Pig Fell Into the Well
Hong Sang-soo, 1996, 115’

“The women are the true heroes, the brave ones. Violated (defeated?), as they are, they remain the masters of time, of the time that divides the past and the present of the story, of all the time lost to the men.

FILM
The Day After
Hong Sang-soo, 2017, 92’

“In Hong’s bittersweet sonatas, typically composed of multiple movements, repeated figures and modulating motives, any relationship or situation is susceptible to variability: there can always be another version, another chance, another time.

FILM
Night and Day
Hong Sang-soo, 2008, 145’

“Hong is the king of number two: two men for a women (Virgin Stripped Bare by Her Bachelors, 2000), two women for a man (Woman on the Beach, 2006), two chapters in a male-female relation (Turning Gate, 2002), two films in one (Tale of Cinema, 2005), two filmmak

FILM
Hong Sang-soo, 2017, 69’

« Le 23 novembre à Paris, 15 heures. Je veux parler de quelqu’un. D’un homme de vingt-cinq ans tout au plus. C’est un homme très beau qui veut mourir avant d’être repéré par la mort. Vous l’aimiez. Plus que ça. »