Popular reviews

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  Review by KYK ★★★★½ 4

  such a small detail but when kim min-hee leaves isabelle huppert to go meet her boss and says “have some apples over there” that’s such a korean thing lol (to offer your guests apples)

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  Review by Filipe Furtado ★★★★ 2

  Film bridges past and present, action and consequence, lightness and drama. The way Huppert moves around as both director and audience of the love triangle all mediated by a third language that is not no one’s first and a space of transit (that is also the film keep remembering one of transaction) remains amusing and intriguing. Great dog. That Yourself and Yours poster in the production company of the not Hong Sang-soo director is a great touch too.

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  Review by Andre de Nervaux ★★★★ 1

  Isabelle Huppert's character - " This is my first time at cannes"

  me - NO ITS NOT

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  Review by Neil Bahadur ★★ 3

  "Because the only way to change things is to look it at again, very slowly"
  --
  "does it have a meaning?"

  
  This initially seems so unambitious and slight - at least in comparison to HSS's previous 'On the Beach at Night Alone,' and perhaps that remains the more cohesive of the two - because that film broke new ground for the director artistically in more obvious ways, the playful charm of this one can easily be misconstrued: it almost appears as a throwback to HSS's lighter fare, but it's the ostensible lightness which allows the director to construct with the medium in ways motivated more by curiosity rather than excoriable emotion - this results in a work that makes On…

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  Review by brat pacino ★★★½

  what a delightful little gem from hong sang-soo! a major theme of this film is the virtue of honesty, and hong ensures that it stays truthful by employing exclusively long, uninterrupted, mostly static takes. this means the actors can’t hide behind the movie magic of cuts and editing, and the result is a masterclass in perceptive acting.

  in one of the most memorable scenes, jung jin-young asks to sit next to isabelle huppert in a cafe, she accepts, and what follows is a long and excruciatingly awkward silence. in reality, it’s probably about 45 seconds, but that’s still a relatively big chunk of the slim 67-minute runtime — the bold commitment to squeezing the truth out of these little moments…

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  Review by Alex Engquist ★★★★

  few movies have so accurately captured the experience of having one's life temporarily derailed by the presence of a good dog

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  Review by Sean Gilman ★★★★★ 4

  New theory: Claire uses the mysterious tunnel on the beach to travel back in time to save Kim Minhee's job. Thus are there many Manhees.

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  Review by Eli Hayes ★★★★½ 9

  Half-convinced, at this point, that Hong Sangsoo may very well be -- next to a few other modern masters -- my favorite working filmmaker.

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  Review by Nick Newman

  Isabelle Huppert told me more about a character by how she used an iPhone in one scene than most actors could over the course of a feature-length film.

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  Review by wilson ★★★★★ 4

  Marvel: 'Infinity War is the most ambitious crossover event in history'

  Hong Sang-Soo: 'Hold my soju'

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  Review by Cinematic Underdogs ★★★½ 6

  Ten snapshot takeaways from Claire’s Camera:

  1. I'm not sure if it is intentional or not, but Hong Sang Soo is the master of depicting awkward English-as-a-2nd language conversations between strangers of varying nationalities. The crazy thing is I sincerely cannot get a gauge on whether he knows the interactions are maladroit and clumsy, or is simply trying to be cosmopolitan and his naturally tone-deaf to English. Whatever the case, having taught English in Korea for 5 years and having engaged in thousands of awkward conversations with Koreans who know cursory English, I truly enjoy the sincere clumsiness of said interactions as captured in Sang Soo’s films. There is something raw and honest, perhaps even more so than more fluent…

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  Review by Arthur Tuoto ★★★

  É um filme com pequenos momentos muito inspiradores, mas que acaba deixando de lado uma unidade como um todo. O Hong Sang-soo parece bem mais interessado na presença das atrizes do que em um efeito dramático que - nos seus outros filmes - vai aos poucos sendo construído. É meio que o filme de férias dele.

  Soa como um filme retrato sobre a Kim Min‑hee e a Isabelle Huppert. Existe, inclusive, uma pegada bem Andy Warhol nesse ponto. Deixar essas presenças acontecerem: a Min-hee fumado um cigarro e olhando para trás, a Huppert declamando um poema. Não dá pra saber até que ponto são as atrizes ou as personagens.

  É um dos filmes que o diretor mais assume essa natureza…