Category: 2018

Top Films of 2018

Let the Sunshine In – Claire Denis
Zama – Lucrecia Martel
First Reformed – Paul Schrader
Burning – Lee Chang-dong
Shoplifters – Hirokazu Kore-eda
Madeline’s Madeline – Josephine Decker
Shirkers – Sandi Tan
Notes on Appearance – Ricky D’Ambrose
Hale County This Morning, This Evening – RaMell Ross
Golden Exits – Alex Ross Perry


Still Worlds

With 24 Frames, Abbas Kiarostami creates a film akin to a piece of ambient music. The key difference, however, is that Kiarostami works backwards; the image comes first, and then the expected sounds proceed rather than the other way around. Think of, for example, Brian Eno’s Music for Films in which Eno created ambient tracks for films that don’t exist. And yet, listening to each piece of Music for Films evokes a story that should be accompanied by an image. Using the image as a starting point allows Kiarostami to play with time, and thus, proceed from there to craft a mood. Similar to Chris Marker’s low-budget La Jetee (1962), there is little to no movement in 24 Frames. Kiarostami’s focus on the still image does more than point toward a flirtation with experimentation by highlighting a new form of storytelling. Comprised of twenty-four images, Kiarostami sets out to evoke the mood of each image by way of sound. The sound of wind, chirping, distant logging and soon thereafter, the fall of timber, accompanies the image of a bird resting on stacks of lumber. Nearly two-hours in length, there comes a point in 24 Frames where our gaze stops its incessant movement in search for secrets, and where our eyes become used to the stillness. If Kiarostami has always been a director who challenged how films were watched as he did in Close Up (1990), then with 24 Frames, his technique becomes more radical, minimizing the film’s visual aspect, and training us to hear a story rather than see.

Masks for Films

Nathan Silver’s The Great Pretender is part of a bigger milieu of independent New York city-based films this year, joining its immediate predecessors, Alex Ross Perry’s Golden Exits and Ricky D’Ambrose’s Notes on Appearance. All three films are concerned with White upper-middle class New Yorkers navigating thin lines between work, life, art, love and so on. While this narrative description might produce an eye-roll, and sound unoriginal, the direction displayed by all three is anything but. Perry, for example, bridges scenes through fades, blanketing Golden Exits in a dream-like atmosphere that calls attention to the miserable bourgeois reality of its characters. D’Ambrose on the tightest budget of all three utilizes unique sound and visual design to tell a larger story. An image of a map depicts the process of traveling, and the absurdity of a Q&A is represented by a rapid-montage depicting the sullen faces of its guests. Silver’s cinematographer Sean Price Williams1 films The Great Pretender with whimsical movements of the camera, lending the film a playful, sometimes absurd, comedic tone that lampoons its characters. The story may ultimately center on Mona (Maëlle Poésy), a French theater director attempting to reconcile with her ex-boyfriend, but the narrative jumps between the perspectives of its four characters. The addition of internal voice-overs for each “chapter” aid the film in establishing the psychological conflict between how the characters feel and how they act, ultimately coming to a climax in Mona’s play. As in the ending of Vivre Sa Vie (1962), The Great Pretender too suggests art as the most sincere form of communication. But of course by then, it’s too little, too late.


Williams has also worked as the cinematographer for Perry’s Listen Up Phillip (2014), Robert Greene’s (who served as the editor for Golden Exits) Kate Plays Christine (2016), and the Safdie brother’s (two more NYC-based independent filmmakers) Good Time (2018), all three which I highly recommend.

Portrait of an Actress

In his latest film On the Beach at Night Alone, Hong Sang-Soo’s writing and direction displays a maturation from his previous work, eschewing somber ambiguity instead for emotional closure. This latter element in combination with self-reflexive topics taken from his own life, demonstrates how Sang-Soo has a nuanced understanding of his own work, further building his own auter brand of cinema on what he himself has previously established. One doesn’t need to have watched Sang-Soo’s previous films to enjoy On the Beach at Night Alone nor follow the real-life drama of Sang-Soo’s life in order to appreciate the film, but, in viewing On the Beach as a new peak for Sang-Soo, his previous films become keys in understanding how the director utilizes his trademark tools in refreshing ways here: the pan, zoom-in, and interior shots used to grasp the interior psychology of his characters, but within the context of the film’s story, done so in a way that culminates in what can be seen as Sang-Soo in conversation with himself and his audience.

The film centers on Young-hee (Kim Min-hee), an actress who had an affair with her director, and her subsequent travels in order to recover. If Sang-Soo’s narratives ever feel adrift then with On the Beach, he punctures that day-dream atmosphere, grounding his characters in a reality where actions must be repented for and mistakes learned from. Young-hee becomes the exemplar here, frequently prostrating herself in nature as if she were seeking forgiveness from sublime landscapes. Her gesture points towards a notable shift in Sang-Soo’s exteriors for this particular film. The first half of On the Beach takes place in Hamburg, Germany where Young-hee has fled to relieve herself from tabloid pressure.

A number of scenes take place outdoors which Sang-Soo emphasizes through the use of wide-shots as opposed to his more conventional zoom-ins where backdrops are erased. In the former movement, characters such as Young-hee aren’t subsumed by their larger surroundings. Instead, like his zoom-ins, Sang-Soo’s choice of outdoor landscapes here call attention to the inner psychology of his characters, specifically Young-hee who feels especially lonely in her desolate Fall surroundings. The juxtaposition of Young-hee’s body against the wider landscape gives her the appearance of being defenseless and vulnerable, shown no better than when she sits in the fetal position on the beach. A passerby warns her to be careful, but Young-hee seems to be somewhere else, taking comfort in her solitude.

By setting the first-half of the film away from South Korea, On the Beach takes on a self-reflexive element. Throughout the film, Young-hee uses nature to ponder on her affair and its aftereffects. With Kim Min-hee playing the lead role, the elements of autobiography aren’t lost. Last year, rumors began circulating that Sang-Soo was having an extra-martial affair with Min-hee. At the Seoul premier of On the Beach earlier in March, Sang-Soo confirmed the rumors to be true. Less interesting are the rumors and gossip and more the ways that Sang-Soo and Min-hee channel elements of their lives into their art-forms and the ensuing result. Young-hee as the protagonist of the film played by Min-hee doesn’t just bring to mind the real-life connections between On the Beach to Sang-Soo’s life, but also the connections between On the Beach to the more than usual masculine-perspective of Sang-Soo’s filmography.

As the writer of his own films, Sang-Soo shows an awareness for the lechery of his male characters but never more than an exchange of drunken chides that are glanced off. This time around, Sang-Soo doesn’t shy away from the drama that explodes over the eventual cup of Soju. Towards the end of the film, Young-hee runs into her ex-lover, simply known as “the Director (Moon Sung-keun)” and joins him alongside his film crew for dinner. Not long into the scene, Young-hee begins to call out the Director for his behavior, questioning why he surrounds himself with younger women and why his films seem to be so boring and personal. Young-hee’s question invites laughter, but Sang-Soo just as quickly transforms the tone from self-deprecating humor into a serious moment of self-reflection.

The Director reveals that he surrounds himself with younger women because they’re “pretty,” and it provides him romantic opportunities. A medium shot initially draws attention to Young-hee and the Director and the two serve to frame the table between them where the tension feels palpable. Sang-Soo then separates the two by way of panning to the speaker, mimicking a shot-reverse-shot. The camera transforms tension into anguish as the spat between the ex-lovers becomes not only the dominant focus of the scene but of the frame, pushing out the rest of the cast and thus removing any elements that this was initially a celebration.

The Director bemoans his regret for having ever loved Young-hee in the first place and despite being twice her age, Young-hee comes across as the wiser of the two: “Don’t regret it. Regretting won’t change anything,” she coolly tells him. In a final bid to explain himself, he quotes a passage from an untitled book about two lovers embroiled in an affair. “Love”, the protagonist describes, “must come from somewhere higher than happiness and unhappiness”. Coming from the Director, the quotation plays out like a cheap excuse for a man to commit infidelity, but he gives the book to Young-hee and therein lies an importance for understanding how Young-hee lives her life.

At the start of the film, Young-hee’s older friend Jeeyoung (Seo Youngwha) asks her what she wants from her life, to which Young-hee responds: “What I want is to live in a way that suits me. To be strong, and whatever happens, to live my own way.” Reckless, but Young-hee’s philosophy gives context to her actions and when viewed in relation to the advice given to her by the Director, functions as a guide on viewing On the Beach and perhaps Sang-Soo’s filmography as a whole. Like the protagonist from the Director’s book, Young-hee lives her life according to what she feels rather than logic. She’s adventurous, bold, and as her friends tell her repeatedly, charming. On the Beach’s narrative operates on a similar whimsical level. A composer Young-hee meets tells her that his piano pieces are simple but should you dig deeper, they grow more complex.

Sang-Soo’s films are equally simple not just in the stories they tell but in how they’re made. The latter element has arguably allowed him to make five films in the past two years. In the case of On the Beach at Night Alone, while an affair is no foreign element to Sang-Soo’s stories, the complexity of the film arises from Sang-Soo’s keen observational skills. Together with Min-hee’s subtle emotional turns, Sang-Soo paints a lyrical portrait of isolation dictated by equally lonely landscapes.