Babes by Pamela Adlon, co-written and starring Ilana Glazer, debuts in limited release with films by Hang Song-soo and Bertrand Bonello and docs on a controversial Venice Biennale, ground-breaking female clerics, and the Blue Angels Navy Squadron. A trio of festival favorites expand. While eyes now are on fare at Cannes — where Neon has been making high-profile moves — each week Stateside remains a test of indie film’s theatrical boundaries in a post-Covid, streaming-centric marketplace.
There have been notable hits. A24’s I Saw The TV Glow by Jane Schoenbrun is having a nice run so far as is Evil Does Not Exist — Sideshow/Janus Films’ second outing with Ryusuke Hamaguchi after Oscar-winning Drive My Car. (That 2021 Japanese film about a...
There have been notable hits. A24’s I Saw The TV Glow by Jane Schoenbrun is having a nice run so far as is Evil Does Not Exist — Sideshow/Janus Films’ second outing with Ryusuke Hamaguchi after Oscar-winning Drive My Car. (That 2021 Japanese film about a...
- 5/17/2024
- by Jill Goldsmith
- Deadline Film + TV
‘In Our Day’ Review: Hong Sang-soo Celebrates Hot Pepper Paste in Bifurcated Ode to Simple Pleasures
Writing and directing your 30th feature film is a milestone that few filmmakers ever reach, and likely prompts a bit of introspection. It could be seen as an opportunity for reinvention and experimentation now that your legacy is secure, or it could be justification to double down on the traits that made you so successful in the first place.
Hong Sang-soo takes the latter approach with “In Our Day,” a film that sees him playing many of his greatest stylistic hits. There’s an excellent performance from Kim Min-hee, a script that’s divided into separate vignettes, lengthy shots that afford actors the room to dive into their characters’ subtlest mannerisms, and of course, bottles of soju that lurk over the story like a Chekhov’s Gun as we wait for everyone to begin imbibing and sharing their true feelings. It’s the kind of film that might be described...
Hong Sang-soo takes the latter approach with “In Our Day,” a film that sees him playing many of his greatest stylistic hits. There’s an excellent performance from Kim Min-hee, a script that’s divided into separate vignettes, lengthy shots that afford actors the room to dive into their characters’ subtlest mannerisms, and of course, bottles of soju that lurk over the story like a Chekhov’s Gun as we wait for everyone to begin imbibing and sharing their true feelings. It’s the kind of film that might be described...
- 5/17/2024
- by Christian Zilko
- Indiewire
Death, taxes, and one-to-three Hong Sang-soo movies per year. I much prefer the latter, and it’s nice knowing we’re just a month out from In Our Day, his 30th feature and latest on which he serves as director, writer, producer, cinematographer, and composer. Following last year’s Directors’ Fortnight debut, the film begins a rollout on May 17 at Film at Lincoln Center before expanding; naturally, there is a trailer.
As Michael Frank said in his review, “In Our Day remains straightforward in its filmmaking, attaining depth through dialogue designed to cause the viewer to think about the value and meaning of the art they consume––among other things, the film itself. It’s cyclical in a way, and Hong knows that, adding to his collection of understated, underseen films with great performances.”
Find the preview below:
Sangwon (Kim Minhee), an actress recently returned to South Korea, is temporarily staying with her friend,...
As Michael Frank said in his review, “In Our Day remains straightforward in its filmmaking, attaining depth through dialogue designed to cause the viewer to think about the value and meaning of the art they consume––among other things, the film itself. It’s cyclical in a way, and Hong knows that, adding to his collection of understated, underseen films with great performances.”
Find the preview below:
Sangwon (Kim Minhee), an actress recently returned to South Korea, is temporarily staying with her friend,...
- 4/15/2024
- by Nick Newman
- The Film Stage
You’d be forgiven for not having seen every Hong Sangsoo movie. The South Korean director, known for films like “On the Beach at Night Alone,” “Claire’s Camera,” and “The Novelist’s Film” has released 29 features, and often more than one in the same year. So was the case for 2023, which saw the festival circuit premieres of “In Water” and “In Our Day.” And as of writing, Hong already has another movie that premiered at the Berlinale, “A Traveller’s Needs.” A new Hong movie is always a pleasure to celebrate, and so IndieWire shares the exclusive trailer for “In Our Day” ahead of the upcoming release from Cinema Guild. Watch below.
Here’s the synopsis for the film:
Sangwon (Kim Minhee), an actress recently returned to South Korea, is temporarily staying with her friend, Jungsoo (Song Sunmi), and her cat, Us. Elsewhere in the city, the aging poet Hong Uiju (Ki Joobong) lives alone,...
Here’s the synopsis for the film:
Sangwon (Kim Minhee), an actress recently returned to South Korea, is temporarily staying with her friend, Jungsoo (Song Sunmi), and her cat, Us. Elsewhere in the city, the aging poet Hong Uiju (Ki Joobong) lives alone,...
- 4/15/2024
- by Ryan Lattanzio
- Indiewire
Let’s not be quite so declarative as to insist there are only two types of cinephile, but among the many varieties that exist, there are those who have never managed to connect with Hong Sang-soo’s ongoing movie project, and those who can watch a minutes-long sequence of Kim Min-hee petting and feeding an already portly cat, and think ecstatically “This is cinema!” The former type will know by now to steer wide clear of “In Our Day,” which will look to them like yet another reinvention of Hong’s eternal mandala-wheel of talky two-shots, unadorned aesthetics and glancing, enigmatic, echoing themes. The latter type will love it for much the same reasons, and may even find themselves surprised by a film that, while not as robust in construction as recent career highlight “Walk Up,” does work in new elements, amongst so much that is welcomingly familiar.
One obvious new development is intertitles,...
One obvious new development is intertitles,...
- 10/11/2023
- by Jessica Kiang
- Variety Film + TV
Like other Hong Sang-soo films, In Our Day passes, on the surface, for simple fare. The prolific South Korean director layers weighty themes amidst naturalistic filmmaking, almost documentary-style in his willingness to let the camera sit without needing any extra flourishes. Cutting between two scenes––both playing out over a single afternoon––Hong focuses his energy on the dialogue between his characters, on the rapid intergenerational misconceptions. In doing so he muses on the pessimism of art, the somewhat meaningless nature of life, and how we interpret the actions and words of our fictional heroes.
In one scene, a student goes to visit Ui-ju (Ki Joo-bong), a poet who lives like a hermit, drinking his days away. In the other, a young woman visits her cousin, a former actress named Sang-won (Kim Min-hee) who’s disillusioned by the roles she’s been given, due to lack of autonomy on set.
In one scene, a student goes to visit Ui-ju (Ki Joo-bong), a poet who lives like a hermit, drinking his days away. In the other, a young woman visits her cousin, a former actress named Sang-won (Kim Min-hee) who’s disillusioned by the roles she’s been given, due to lack of autonomy on set.
- 10/10/2023
- by Michael Frank
- The Film Stage
Hong Sang-soo’s In Our Day is composed of two alternating strands, both pivoting on conversations between artists and their acolytes. The film has no plot in the conventional sense, even by Hong’s spare standards, and the audacious structural gamesmanship of films like Walk Up has been abandoned. In Our Day is meant to feel tossed-off, though Hong’s braiding of scenes—by echoes, symbols, and subjects—is characteristically deliberate.
The uninitiated may find In Our Day baffling or uneventful, as inscrutability is a risk that Hong is willing to run for his art, but for the admirer the familiarity of Hong’s subjects and patterns is pleasing and reflective of a working ethos so obsessive that it’s become a life philosophy. Hong keeps chipping away at the mandates of commercial narrative cinema, fashioning a radical cinema aesthetic that abounds in the fleeting observational textures of poetry or journals.
The uninitiated may find In Our Day baffling or uneventful, as inscrutability is a risk that Hong is willing to run for his art, but for the admirer the familiarity of Hong’s subjects and patterns is pleasing and reflective of a working ethos so obsessive that it’s become a life philosophy. Hong keeps chipping away at the mandates of commercial narrative cinema, fashioning a radical cinema aesthetic that abounds in the fleeting observational textures of poetry or journals.
- 9/22/2023
- by Chuck Bowen
- Slant Magazine
By Khushi Jain
Can the theory of art help develop the theory of being? Or perhaps the theory of art is the theory of being? The conversationalists in Hong Sang-soo's latest feature “In Our Day” immerse themselves in these questions over bowls of spicy ramyeon and the company of a fat and fluffy cat. The film's calm and observant engagement with such universal creative and existential material made it the perfect way to close the 2023 edition of Directors' Fortnight at Cannes. A dissertation on routine, “In Our Day” is a nihilistic cinematic game of rock-paper-scissors with several bottles of soju.
In Our Days screened at Cannes Official poster – 76th edition © Photo © Jack Garofalo/Paris Match/Scoop – Création graphique © Hartland Villa
The film runs on two parallel strands of a threadbare narrative. Sang-won (Kim Min-hee) is an actress in her 40s, staying with her friend Jung-soo and her cat ‘Us.
Can the theory of art help develop the theory of being? Or perhaps the theory of art is the theory of being? The conversationalists in Hong Sang-soo's latest feature “In Our Day” immerse themselves in these questions over bowls of spicy ramyeon and the company of a fat and fluffy cat. The film's calm and observant engagement with such universal creative and existential material made it the perfect way to close the 2023 edition of Directors' Fortnight at Cannes. A dissertation on routine, “In Our Day” is a nihilistic cinematic game of rock-paper-scissors with several bottles of soju.
In Our Days screened at Cannes Official poster – 76th edition © Photo © Jack Garofalo/Paris Match/Scoop – Création graphique © Hartland Villa
The film runs on two parallel strands of a threadbare narrative. Sang-won (Kim Min-hee) is an actress in her 40s, staying with her friend Jung-soo and her cat ‘Us.
- 6/6/2023
- by Guest Writer
- AsianMoviePulse
Hong Sang-soo’s latest film “In Our Day,” which will premiere on closing night of Cannes’ Directors Fortnight, has been acquired by Cinema Guild for North America.
Cinema Guild will release the film in theaters following its North American festival premiere later this year.
“In Our Day” stars Kim Minhee as Sangwon, an actress who has recently returned to South Korea and is temporarily staying with her friend, Jungsoo (Song Sunmi), and her cat, Us. Elsewhere in the city, the aging poet Uiju (Ki Joobong) lives alone, his cat having recently passed away. On this ordinary day, each of them has a visitor: Sangwon is visited by her cousin, Jisoo (Park Miso) and Uiju, by a young actor,
Jaewon (Ha Seongguk). Each of them wants to learn about a career in the arts, but they also
have bigger questions.
Hong’s 30th feature outing, “In Our Day” demonstrates a new...
Cinema Guild will release the film in theaters following its North American festival premiere later this year.
“In Our Day” stars Kim Minhee as Sangwon, an actress who has recently returned to South Korea and is temporarily staying with her friend, Jungsoo (Song Sunmi), and her cat, Us. Elsewhere in the city, the aging poet Uiju (Ki Joobong) lives alone, his cat having recently passed away. On this ordinary day, each of them has a visitor: Sangwon is visited by her cousin, Jisoo (Park Miso) and Uiju, by a young actor,
Jaewon (Ha Seongguk). Each of them wants to learn about a career in the arts, but they also
have bigger questions.
Hong’s 30th feature outing, “In Our Day” demonstrates a new...
- 5/24/2023
- by Elsa Keslassy
- Variety Film + TV
While it certainly wasn’t a surprise in the lineup, one of our most-anticipated films premiering at Cannes––specifically at Directors’ Fortnight––is the 30th feature film from Hong Sangsoo. Following the radical formal gamble of In Water at Berlinale earlier this year, In Our Day seems to return the prolific South Korean director to a more familiar mode. Starring Ki Joobong, Kim Minhee, Song Sunmi, Park Miso, Ha Seongguk, Kim Seungyun, the film clocks in at 84 minutes and ahead of a premiere on May 25, the first festival trailer has now arrived.
Here’s the synopsis from the festival website: “In Seoul, two alternating conversations: an actress is solicited by an amateur; an old poet hosts a fan. The two stars dodge the existential questions of their guests with food, alcohol, guitar playing and naps, games with a cat and rock, paper, scissors. The actress is thinking of giving up...
Here’s the synopsis from the festival website: “In Seoul, two alternating conversations: an actress is solicited by an amateur; an old poet hosts a fan. The two stars dodge the existential questions of their guests with food, alcohol, guitar playing and naps, games with a cat and rock, paper, scissors. The actress is thinking of giving up...
- 5/16/2023
- by Leonard Pearce
- The Film Stage
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