Hong Sang-soo’s third film of 2017 (and his fourth in the last eight months), “The Day After” finds the singular Korean auteur deviating from his signature formula in some pretty seismic ways. Case in point: The selfish, horny, soju-guzzling male character at the center of this one is an emotionally confused book publisher, and not an emotionally confused movie director. Sorry, I should’ve warned you to sit down before you read that. Really though, the most striking difference between this film and the last few efforts from cinema’s drunkest one-man genre, is that “The Day After” is so black-and-white.
Jane Campion’s “Top of the Lake: China Girl” is — among a seemingly infinite array of other things — a story about second chances. And while that theme is beautifully personified by any number of different characters during this six-hour miniseries, there’s a certain irony to the fact that this epic detective drama is built upon a foundation of redemption and regret. After all, Campion got it right the first time.
Premiering at Sundance in 2013 and airing on SundanceTV…
Jacques Demy for the digital age... walks the uneasy bridge between romance and reality almost as nimbly as Singin' in the Rain did the one between silent films and talkies.
i think this is a more difficult — and more rewarding — film than some people are expecting, or will be interested in seeing. the way it disintegrates from the technicolor to the quotidian, from a romance about movies to a movie about romance... it's a bold move, executed to…