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September 29, 2006

Woman on the Beach, 2006

woman_beach.gifAfter observing Hong Sang-soo's previous three films bucolically retreating within a predictable safety zone of recurring preoccupations and reflexive encounters illustrated through linear narratives in somewhat uncharacteristic fashion following what had been his most structurally experimental film to date, Virgin Stripped Bare by Her Bachelors, it is refreshing to see Hong crystallize his now familiar flat structured, mirroring triangulations on the ephemeral nature of human desire with Woman on the Beach. Opening to the seemingly innocuous, but incisive image of film director, Kim Joong-rae (Kim Seung-woo) unrelentingly goading his reluctant friend (and more importantly, car owner), Won Chang-wook (Kim Tae-woo) into taking a road trip to a quiet, off-season seaside resort in Shinduri Beach (and who, in turn, agrees to accompany him under the provision that his girlfriend, an international traveler and composer named Kim Moon-sook (Ko Hyeon-geong) also come along for the impromptu getaway), in order to stimulate his creativity after struggling with writer's block on a long overdue script, Hong implicitly reveals not only the selfishness and insecurity, but also the resigned acquiescence that shape and define Joong-rae and Chang-wook's character. Alternately distracted from his work by sheer procrastination and indiscipline, as well as squandering his time by vying for the affections of the seemingly receptive Moon-sook, Joong-rae is an inscrutable paradox: seemingly thriving in his self-inflicted distraction by perversely deriving inspiration from the intoxicating chaos of romantic pursuit, yet already mourning the inevitable disappointment of the conquest, when the bliss of anonymous encounter and transitory connection with a new lover soon give way to the insecurity, paralysis, and mundane reality of emotionally investing in a fledgling, potential relationship. Chronicling Joong-rae's dysfunctional creative process through the unresolved wreckage of his messy, unraveling, and patternistically recurring romantic entanglements - a theme that coalesces in Joong-rae's diagrammatic explication of his theory on the interpenetration between memory and dimensional knowledge - Hong transcends his now familiar portraitures of flawed, self-indulgent men, obliging, but elusive women, and failed intimacy by endowing his characters with the possibility of self-revelation even in the midst of human frailty, allowing them to find their way to break free from their self-inflicted, ensnaring sand dunes towards the liberating landscape of personal closure.

Posted by acquarello on Sep 29, 2006 | | Filed under 2006, New York Film Festival

Comments

"Joong-rae's diagrammatic explication of his theory on the interpenetration between memory and dimensional knowledge" was one of my favorite single scenes at TIFF. :) At first, I was worried that it made so much sense to me, so I was relieved that Darren and Girish later concurred.

I, too, thought this was a very refreshing spin on Hong's usual themes and style, and I think you're right on the money when you suggest that it's at least partly because of the "possibility of self-revelation."

Posted by: Doug Cummings on Sep 30, 2006 9:47 PM | Permalink

Thanks, Doug. Exactly, in his earlier films, there was definitely this sense of his (male) characters being stuck in the rut, but in this one, there's that sense that Joong-rae "gets it", even if he doesn't quite change his behavior yet, he at least realizes that he's also operating from that limited perspective that he needs to get out of. I'd agree with you about the squiggly diagram too...maybe too much sense. :)

Posted by: acquarello on Sep 30, 2006 11:53 PM | Permalink


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