South Korea
In Front of Your Face and Introduction serve as a satisfying reminder that one of world cinema’s most consistent filmmakers is still thriving.
It’s not a perfect specimen in filmmaking, but My Sassy Girl is an imperfect exercise in romantic storytelling that can’t help but win you over.
In rapid succession over the past couple of years, the cinema of Hong Sang-soo has…
Criterion’s upcoming edition of Memories of Murder comes highly recommended to both fans of the film and new viewers alike.
A contender for feel-good film of the year, De Capo follows a musician returning home, where he’s torn between his music and the kids he inspires.
The unfortunate thing about Beasts Clawing at Straws is that it tries to force entertainment through shock value instead of investing in the characters.
That’s one of the great joys of Memories of Murder. From purely a storytelling perspective, it synthesizes together something totally compelling.
With Hong at his most delightfully Rohmer-esque and Kim at her most effortlessly charming, The Woman Who Ran showcases humanity at its most authentic.
While it may not land as smoothly as it hopes for, what #Alive offers here is still refreshing, warranting the attention of its audience.
It is a fun zom-com, but if you aren’t desperately seeking out for a lighthearted zombie film, then it’s maybe not the first film you would come across.
If there’s anyone who can turn something mundane into something magical, it’s director and writer…
We take a look at three of South Korean filmmaker Hong Sang-soo’s films: Woman on the Beach, Hill of Freedom and Yourself and Yours.
At the center of Woo Min-ho’s The Man Standing Next lies a political scandal that has puzzled historians for decades.
House of Hummingbird isn’t the easiest of films to watch, but it is definitely one of the most rewarding.
Audiences are well-endowed with a suspension of disbelief, and we deserve nostalgic, beautiful, happy stories Like The Handmaiden.