By Eric Neuhoff
CRITICAL – We can’t get enough of Korean Hong Sang-soo’s thirtieth film.
This is his thirtieth film. Hong Sang-soo turns so much that one almost wants to exclaim: only! The director thinks everything is permitted. He’s not wrong. No need to refine a plot line. Two parallel stories unfold before our delighted eyes, now accustomed to this communicative relaxation. An actress listens to an apprentice actress and we are not in Eve of Mankiewicz. A bearded poet receives a young admirer who hopes for advice – he will not be disappointed. A big Angora disappears. The poet has a heart problem. He tries to quit alcohol and tobacco, which have nevertheless made his reputation and which are part of his work.
In both cases, a guitar invites itself into the story. There is one whose strings are broken. The actress wants to quit her job. She believes the flowers speak to her. The poet takes it easy. Let’s stop asking him these questions about literature, love, truth. You have to see the wonder with which…