Hong Sang-soo’s effortlessly lo-fi approach brings out the gentle humanity in his story of an actor returning to her family
Korean auteur Hong Sang-soo has returned with another of his quiet cine-literary movie artefacts: ultra-lo-fi movies shot on video with available light, in real bedrooms, real apartments, in cafes and restaurants. They comprise mostly of shots of two people talking (and almost always drinking heavily) filmed at a cool distance from a fixed camera position, without the convention of shot-reverse-shot or the business of “coverage”. Hong is perhaps yet another beneficiary of the great Godardian inheritance – Jlg showed films could do without these things, and productivity and speed could therefore be increased. And with Lars von Trier having long since abandoned the zero-budget aesthetic of Dogme 95, Hong has carried on, making fascinating, subtle, humane films with the bare minimum.
Once again, he casts a tender, sympathetic gaze on a...
Korean auteur Hong Sang-soo has returned with another of his quiet cine-literary movie artefacts: ultra-lo-fi movies shot on video with available light, in real bedrooms, real apartments, in cafes and restaurants. They comprise mostly of shots of two people talking (and almost always drinking heavily) filmed at a cool distance from a fixed camera position, without the convention of shot-reverse-shot or the business of “coverage”. Hong is perhaps yet another beneficiary of the great Godardian inheritance – Jlg showed films could do without these things, and productivity and speed could therefore be increased. And with Lars von Trier having long since abandoned the zero-budget aesthetic of Dogme 95, Hong has carried on, making fascinating, subtle, humane films with the bare minimum.
Once again, he casts a tender, sympathetic gaze on a...
- 9/19/2022
- by Peter Bradshaw
- The Guardian - Film News
Audrey Diwan’s “Happening,” Jane Campion’s “The Power of the Dog,” Ryûsuke Hamaguchi’s “Drive My Car” and Terence Davies’s “Benediction” won top prizes at the 2022 Ics Awards, which are handed out by the International Cinephile Society.
This 19th edition marked a milestone with female talents winning best picture, director, animated film, documentary, debut feature, breakthrough performance and cinematography.
“Happening,” a timely abortion drama set in 1960s France, took home best picture, while its star, Anamaria Vartolomei, won best breakthrough performance.
“Remarkable in its combination of artistic delicacy and brutal realism, yet resisting any hint of didacticism, the film quietly builds tension to a gut-wrenching emotional pitch,” stated the Ics.
Campion, meanwhile, won best director with her Western family drama “The Power of the Dog.” Runner-up for top film was Hamaguchi with “Drive My Car,” a road drama based on Haruki Murakami’s short story about guilt and grief.
This 19th edition marked a milestone with female talents winning best picture, director, animated film, documentary, debut feature, breakthrough performance and cinematography.
“Happening,” a timely abortion drama set in 1960s France, took home best picture, while its star, Anamaria Vartolomei, won best breakthrough performance.
“Remarkable in its combination of artistic delicacy and brutal realism, yet resisting any hint of didacticism, the film quietly builds tension to a gut-wrenching emotional pitch,” stated the Ics.
Campion, meanwhile, won best director with her Western family drama “The Power of the Dog.” Runner-up for top film was Hamaguchi with “Drive My Car,” a road drama based on Haruki Murakami’s short story about guilt and grief.
- 2/7/2022
- by Elsa Keslassy
- Variety Film + TV
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