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Nobody’s Daughter Hae-Won by Sang-soo Hong

August 25, 2013


“Directors always make the same movie” can be a misleading commonplace – as commonplaces usually are – but no director makes it sound more real than mister Hong and his latest offering is no surprise, even the choice of a piece of classical music is a deja entendu – he had already used Beethoven’s Seventh Symphony Allegretto in Night & Day.


There is nothing wrong with exploring and digging always the same thematic elements, but it becomes puzzling when someone does it using every time the same cinematic ideas the way Hong does: the confusion of story and character’s dream, the repetition – with slight variations – of certain scenes, a long take in a restaurant and at least one character who is a filmmaker and/or someone who works in the movie business. Last year In Another Country had introduced a new element in the Hong world, the presence of a foreigner (the great Isabelle Huppert) had enriched the film’s thematic vocabulary, allowing it to articulate a new (mainly comic but at the same time thoughtful about cultural differences) twist, Nobody’s Daughter Hae-Won is a step back or maybe it is a step forward, it all depends on how much of his work you have already seen or if you buy the credo: I don’t get it, it has to be good!

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