Do we have a classification yet for this kind of peripheral-narrative filmmaking? All movies are observational, but most of them still feel like movies. Even in more realistically designed films, each scene has an internal goal or narrative purpose. Western differs, presenting the viewer with seemingly unimportant moments and leaving it up to us to extract the information we need. There are concrete narrative beats here, but they're buried in long stretches of quiet and meandering conversations that may as…
"I think I'm still the same person as always."
Probably my least favorite of Hong's work thus far, but it may be the most fascinating. Right Now, Wrong Then is a superior version of this vignette format, the film's parts feeling more balanced and dependent on each other, but In Another Country is still effective.
As written by our narrator, Anne's three incarnations are women from unique backgrounds, but they all act largely the same. Her sense of self is…
It's nearly impossible to review this film without writing about the sex scenes, and that's part of the problem. In depicting the intensity of first love, it's reasonable to present sex with a similar intensity, yet the duration and graphic nature of the sex scenes is so great that they pull focus from the rest of the narrative. Additionally, these scenes do nothing to propel the narrative forward, resulting in an uncomfortable, albeit arousing, stagnation. For a film that's already…