An actress wanders around a seaside town, pondering her relationship with a married man.
An actress wanders around a seaside town, pondering her relationship with a married man.
Bamui haebyun-eoseo honja, 等一个人的心湾, Na Praia à Noite Sozinha, En la playa sola de noche, Samotnie na plaży pod wieczór, Seule sur la plage la nuit
Wow. This is the most straightforward Hong film since The Day He Arrives, it has a two-part structure and occasional repetitive echoes, but it remains focused and direct in a manner he rarely goes for. The only distancing effect here is the one the audience brings with their likely awareness of the Korean tabloid coverage of Hong and Kim romance. As usual with Hong he is operating into the dual modes of his careful attention to the small time minutiae of his character’s interactions and the large demonstrative feeble-like quality of the tale his editing brings together about them. Here that means Kim Min-hee character has an inevitable destination on the beach at night alone as the title promises. Her…
this film is a flat out blessing; cinema this potently personal, profound and parked on the edge of reality & the moving image. docufiction as fiction, and the tragedies of life seeping their way into the Projections of our Selves. the life becomes the screen and the screen, before us, which is part of All Lives, transports us into the lives & tough times of those willing to shed their skin, and stand Naked in honesty of the hurt they've caused. the love they've found, and the feeling of sinking your feet into the beach's sand during the evening, as you ponder the friendships; the relationships that Dissolved over time or, worse yet, popped like balloons suddenly swept so swiftly into the past -- best of friends dissipate into faceless silhouettes.
"The man who asked the time, later on the window-washer...these guys popping up. Do you think that's Death?"
This was a question posed to me by The Perspicacious Shelly Kraicer, who has had the good fortune to see Hong's latest film twice. It's highly plausible, especially given the way the window-washer is just hovering on the balcony toward the end of the film, his task completed but staring into the hotel room like a creep. But what's more significant than the particular details is the fact that this is a question that can be legitimately posed in a Hong film. The man who for so long has drawn comparisons to Rohmer is now possibly incorporating elements of Buñuel or…
"Where's love? It's not even visible. You need to see it in order to search for it."
I actually watch this movie 5 times over the years, I just hesitated to write a review about it, because I didn't know how to put it into words my feelings about him, but the film explores the power dynamics between colleagues, acquaintances, friendship and gossip. This is the beauty and strength of Hong Sang-soo’s filmmaking; he gently moves the viewer into witnessing basic everyday occurrences and conversations. We witness the intricacies that take place during cigarette breaks, long drunken dinners, awkward cups of coffee, walks in a park, visiting tourist attractions, lonely film festivals and cold grey walks on the beach at…
Bem a cara do Hong Sang-soo fazer o filme mais impiedoso da sua carreira justamente quando é pra tratar sem muitos rodeios da própria vida pessoal. Não que todos os outros já não fossem em algum nível sobre isso, mas aqui parece que o próprio espírito de Maurice Pialat deu uma assombrada gostosa no cara. Mesmo pra quem não tá ligado no relacionamento dele com a Kim Min-hee é um dos filmes mais desoladores nessa relação entre romance e isolamento, nessa culpa implícita que acaba destruindo todo círculo social possível. Tem uma desesperança tão franca, tão não hesitante e livre de qualquer projeção distanciadora que a única coisa que sobra é uma morbidez muito bruta. A própria figura que persegue…
someone needs to tell Hong sang-soo that making a movie about an actress who had an affair with a married filmmaker with the actress you cheated on your wife with irl is a level of self indulgence to rival woody allen’s lmao..
Errado antes, errado agora. Nenhuma possibilidade alternativa além do silêncio constrangedor. Um presente de filme pro Sang-Soo (personagem) e pra Min-hee (não-personagem), por mais terrível que seja receber esse presente. Talvez uma das grandes obras já feitas sobre a sensação de querer sair no meio de uma festa pra não ter que falar com mais ninguém.
Fresh off having rewatched director Hong Sang-soo's previous effort Right Now, Wrong Then, I decided to revisit On the Beach at Night Alone. On the Beach at Night alone is ostensibly a character study about an actress, Young-hee (Kim Min-hee), who is reeling from the dissolution of an affair between herself and an older, married director. In the first act she wonders listlessly around Hamburg, Germany, trying to escape her past but never quite able to clear her mind. The story then shifts to a small seaside town in South Korea, where Young-hee catches up with old friends and acquaintances - with the spectre of her heartbreak hanging over every interaction.
On the Beach at Night Alone is a deeply…
I never understood when Hong said he was more influenced by Cezanne than any other filmmaker, until now...
And even outside of its considerable formal/structural merits, this is personal filmmaking taken to an almost unparalleled degree of self-inquiry, both for its director and lead actress - it's perhaps necessary to be aware of the South Korean media circus surrounding Hong Sang-Soo and Kim Min-Hee's affair in 2015/6 to fully understand what is happening here...also because of this it seems more collaborative than HHS's prior efforts, lending itself to a sense of equality between performer and director which I haven't experienced before. Truly remarkable...I've always liked HHS but admittedly considered him a bit slight (but that was always his…
A.V. Club review. Not particularly effective for me as cinema à clef—maybe I just know too much about Hong's personal life at the moment, but this film's uncharacteristic emotional directness feels vaguely secondhand, especially when his surrogate finally shows up. (I'd hoped that we'd never see the director at all, that he'd remain entirely past-tense.) But I'm immensely excited to see Hong experimenting with...I'm not sure whether to call it surrealism or absurdism or just inexplicable weirdness. It blows my mind that some critics (e.g. the usually perspicacious Guy Lodge in Variety) failed even to mention the recurring presence of a male figure wearing a dark coat and knit cap, who's first seen asking Young-hee for the time ("You…
"It was the same thing every day. But it was peaceful."
what i love about hong sangsoo is that his films are like having conversations. each of them unique, inviting, revealing. On the Beach at Night Alone however goes deeper in that it feels like hong sangsoo is having a conversation with himself, his relationship to film and the actors that occupy them, and with us, creating a text that is frighteningly vulnerable. vulnerability of course isn't a new concept to his films, but the meticulous camerawork that i can always expect from him blurs the line (much like he did with Right Now, Wrong Then) between audience and director. it is a fascinating conversational type of filmmaking that will never not pull me in again and again.
“Let’s get rid of all the man and love each other”
My first Hong Sang-soo film and it was delightful. Plays out soporifically as a dreamlike symphony of Schubert but not once loses touch of the apparent trademark soju realism (Hong is known for). The evening wind, the waves crashing in, faint hopes for a reconciliation and a self-reflexive confrontation, to re-encounter - even in dreams - an old wound despite knowing that it will never heal. Watching Kim Min-hee on the beach at night alone was like witnessing a piece of tracing paper slipping away in the wind, little by little until it is lost at sea.
i just love movies where kim min-hee talks to me about love, struggles and pain
Provavelmente o filme mais mórbido de um dos principais nomes do gênero de drama atualmente. Hang Song-Soo entrega uma abordagem desoladora sobre a história de uma mulher perseguida (literalmente) pela culpa de se relacionar com um homem casado.
Uma culpa que está implícita em todos os aspectos da vida da protagonista e destrói o que está ao seu redor, quebra vínculos sociais e a isola, gerando uma reflexão importante: é saudável abrir mão da própria individualidade em nome de um romance?
Cheio de diálogos memoráveis, com uma narrativa dramática de tirar o fôlego, é provavelmente o filme que melhor define o carreira do diretor e expõe aquilo que todos deveriam conhecer: a genialidade do cinema sul coreano.
Humans really have a knack for making complicated messes out of sex & love...................not me tho. Y’all be easy
This film was ok. Somewhere between protentious and bland.
This is my secone Hong Sangsoo film and I'm still not sure what his films are about and if I really care enough to find out. The half self-depricating half self-indulgant way of constructing stories around slightly obsessive pathetic male film dirrectors is interesting but ti be hinest i dont really get what hes saying.
Kim Min-hee performance was quite good especailly in the scenes she gets drunk and lets loose. Maybe ill watch his films again as he's pretty acclaimed in the old film circles it would seem.
I just feel his films just slightly miss the mark from being interesting.
Experimentos sobre como vencer o CLIMÃO em nossas vidas
In what I believe is his most personal story yet, Hong Sang-soo continuously knows how to brilliantly capture the awkwardness and vulnerability in his characters simply through their conversations and actions. Plus, seeing Kim Min-hee ask for more pasta because she’s really hungry will always be the cutest thing.
I have been listening to Empty beach lately and this film feels like it.
I think I will be a bitter dunk too, cursing men and love.
human conversation is beautifully displayed here. much about nothing until it’s grippingly poignant. the zooms had me leo dicaprio pointing every time.
anyway, i’m ready to watch like 20 hong sang-soo movies now
La asociación entre el cine de Hong y el de Rohmer es muy común, más que nada por el interés compartido de filmar conversaciones y la preferencia por formas particulares del siempre impreciso "realismo". Pero las similitudes entre On the beach at night alone y Le rayon vert, en la construcción del personaje principal y en la relación de éste con el espacio que la circunda, son llamativas. Dicho esto, las resoluciones de ambas partes que componen esta película son de un misterio muy propio del coreano, y hasta diría que sólo se justifican en él.
Not sure if I understood everything the movie was trying to say but it was great at building this melancholic atmosphere
Few capture the authenticity of drunkenness like Hong does.
Los Angeles, CA. Laptop. Topic.
Kei Nicro 100 films
Based on Korean Screen's vote (not mine). Source : www.koreanscreen.com/100-greatest-korean-films-100-51