Not too long ago, we’ve been gifted two new works by Korean auteur Hong Sangsoo every year. He loves a small film, normally comfortably below the 90-minute mark, and a scope that may embody a novella or perhaps a quick story. I personally discover them type of hit and miss. To not say Hong is inconsistent. The truth is, it’s exceptional how he can maintain making the identical type of film time and again. Even inside the self-imposed constraints of Hong’s method, there’s wild variance in what he places out. In that sense, his new motion pictures are becoming — although unessential — additions to his prolific filmography.

Certainly one of this yr’s, In Our Day, is pretty commonplace Hong: low stakes, talky, and solid with acquainted actors (when you suppose Wes Anderson likes recurring gamers, I’ll elevate you any of those). It’s additionally pure Hong thematically: creatives gently wrestling with their late careers, nebulous self-reflection, and gestures towards alcoholism.

The film splits its narrative between an actor who has given up on the occupation (Kim Min-hee, whom Hong typically refers to as his “muse”) and a poet who has gained reputation late in his profession (Ki Joo-bong). The connection between the movie’s two halves is extra thematic than the rest. (Additionally they each combine gochujang of their ramyun.) As they’re every requested by youthful folks tips on how to dwell a life making artwork, neither has satisfying solutions. One story resolves with the actor’s roommate despairing over a lacking cat; the opposite with the poet’s vices triumphing over his long-term well being.

In Our Day is sweet stuff when you’re a Hong fan, although in all probability not sufficient right here to transform a hater. And the second movie this yr, In Water, may bewilder even the stans. For starters, it’s virtually solely shot out of focus, save for one early scene of its trio of characters sharing a pizza. At first, I assumed one thing should’ve been mistaken with the projector, solely realizing it was deliberate when the subtitles got here by way of clear as day. The impact makes the subtler components of Hong’s work blurrier, very actually. Small gestures, facial expressions — the little issues that come alive within the mundanity of Hong’s work now made opaque. It type of works; it’s additionally just a little annoying. 

In Water follows a director (Shin Seokho) who has taken two buddies to Jeju Island to make a brief movie. Prior to now, director characters have appeared like apparent stand-ins for Hong himself. Right here, we’re much less positive — not as a result of he’s out of focus however as a result of he may be a hack. The director is feeling his approach across the location for inspiration. There’s no script; the opposite two are enthusiastic however confused when they are going to even make this factor. The director continues to bumble round, hoping to be impressed.

That inspiration lastly comes throughout an encounter with a lady who’s choosing up trash on the seashore. From there, he has the concept for his film, they usually proceed to movie it. Hong famously does a lot of the filmmaking himself: he writes, directs, shoots, edits, and even does his personal sound design. Is In Water a glimpse behind the scenes?

However because the director-character explains what the quick movie is about, issues change into much more unsure. Is the concept a great one or simply stuff of pretentious hacks? (It ends with the principle character strolling into the ocean…) Does his crew of two purchase in, or are they simply relieved that their time hasn’t been wasted? Your mileage could differ relying on what you imagine. The anomaly may simply as simply be the purpose. Personally, I wished something within the film to come back into focus.

I’ve heard the director’s work described as “Korean mumblecore,” which doesn’t really feel fairly proper however not completely mistaken both. They’re actually the movie equal of lo-fi. In some ways, the work of Hong is to distill cinema to the barest of bones. He strips motion pictures of activating battle or actual plot; manufacturing values are saved as little as doable — informal, shot on digital camcorders that give his work a house film really feel. Characters are sometimes strongly imagined however not often given arcs. It’s onerous to not see Hong’s work as a robust response to the best way motion pictures are made now: the emphasis on grand, dramatic stakes and excessive escapism or, put merely, leisure. As an alternative, Hong makes the kind of factor that each streamer and algorithm is allergic to.

Each motion pictures work finest when you’re conversant in Hong canon. For In Our Day, that’s a profit, however for In Water, that’s what makes it really feel minor in comparison with earlier movies which have had firmer concepts and fewer tips. Final yr’s duo of Hong motion pictures — Stroll Up and The Novelist’s Movie — had been two of his finest and most creative efforts thus far. Possibly subsequent yr’s will probably be stronger. As Hong typically initiatives in his motion pictures, creativity is rarely a straight line however, slightly, per week of meandering till you finally meet a lady amassing rubbish.