with director Hong Sangsoo
and co-stars Moon Sori and Yu Jun Sang
Initial Reactions to In Another Country:
Variety's Review for In Another Country:
Beguilingly simple, relaxed in its mastery and enhanced by Isabelle Huppert's impeccable poise, helmer-writer Hong Sangsoo's ambivalently titled "In Another Country" plays like the flipside of his Paris-set "Night and Day." While that 2008 film satirized Koreans' antics abroad, the new pic makes Huppert's "otherness" a dramatic lodestone, observing not only how Koreans treat foreigners, but also how they behave toward each other in the company of strangers; their amusingly awkward interactions constitute a deeper reflection on the concept of give-and-take in love and life.
with co-stars Ryo Kase and Tadashi Okuno and director Abbas Kiarostami
Initial Reactions to Like Someone in Love:
Variety's Review for Like Someone in Love:
The very title of Abbas Kiarostami's Tokyo-set character waltz "Like Someone in Love" -- named for the jazz standard Ella Fitzgerald croons on the soundtrack -- promises something as woozily romantic as "Certified Copy," his 2010 cat's cradle of lovers' memories. As it turns out, it's the first, not the last, word of the title that's key to this droll, elegant but faintly trying study in emotional artifice. An unofficial twin to "Copy," sharing its playful preoccupation with identities mistaken and assumed, it's a more austere and less intellectual work, certainly less attractive to distribs, though auteur cachet should see it through.
Hollywood Reporter's Review:
Technically speaking, Like Someone in Love is exquisitely made, from the shadowy nuanced cinematography of Takeshi Kitano regular Katsumi Yanagijima to the rich sound design of Reza Narimazadeh (A Separation). While there are several aesthetically imposing scenes, perhaps the most memorable is a trancelike sequence of Akiko crossing Tokyo in a taxicab at night – an impressive dance of movement, light and layered voices that certainly gives Sofia Coppola a run for her money.
Editing by the director’s son, Bahman, allows the performances to play out in uninterrupted takes, and the three principals – especially Okuno, who provides a deliciously deadpan mix of reverie and wisdom – acquit themselves extremely well. If the subtlety of the direction recalls the late work of Yasujiro Ozu (to whom this movie can in some ways be considered a homage), Kiarostami still manages to pull the “slow cinema” rug out from under us by literary ending things with a bang.
Some Initial Reactions to You Ain't Seen Nothing Yet:
Hollywood Reporter's review:
The confluence of theater, memory and real life for a group of actors in an explicitly artificial world sparks rarefied aesthetic pleasures, up to a point, in You Ain’t Seen Nothin’ Yet. Its contracted, slangy English title specifically insisted upon by the director himself, this reflection on the past, love and death through the prism of layers of theatrical endeavor is both serious and frisky, engaging on a refined level but frustratingly limited in its complexity and depth. Alain Resnais’ latest will appeal most to devoted fans but doesn’t approach the delirious heights of his previous feature, Wild Grass, in 2009... Unfortunately, the film severely limits the richness of these reprised performances by providing no indications of the actors’ own relationships, now or decades before. The intense dialogues about love, lost and recaptured, could have achieved much greater resonance -- be it sincere, ironic, painful, wistful or whatever -- had the interpersonal histories of the actors been illuminated, with all their inevitable passions and rivalries. But Resnais is operating here on a more intellectual, game-playing level, constricting all responses to the brain and not the heart.
The Guardian's Review:
It is a movie about memory and the persistence of the past, and like a lot of Resnais' recent work it mounts an interesting challenge to the realist consensus of cinema, to the convention that we must pretend that what is being played out on screen is actually happening. But despite its moments of charm and caprice, the film is prolix, inert, indulgent and often just plain dull.
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