Second character Kang Mi-J – And his first after a gap of 17 years – “Spring night“A tender about ships passing at night is an tender, compact relationship drama, which passes through a pair of stellar performances working in a completely different mode. Quone adapted to the novel of Yeho -Sun, a drunken woman The story of an arthritis in an arthritis meeting in the story and middle age is a story -like quality, and a slant is telling that it is skip through time in both unique and familiar ways Does. Although this Temporal Hopskach helps it to rebuild complicated sensations, it prevents the film from fully connecting, sometimes despite the scattered moments.
The way Kang introduced his characters is a certain quality on prescriptive, but it proves to be economical, given the film’s only 67 -minute runtime. We first meet soft-spoken Su-Havan (Kim Seol-Jin) as he prepares to participate after a friend’s wedding, while another acquaintance accused him with questions about his financial crises Is, is facing a well-being unaware of health issues. Instead of pushing back, he retreats subtle within the frame. In the above incident, a stranger, Yong-Gong (Han-Yeh-Ri )’s close-up, soon consumes the image. A woman whose mysterious suffering proves all consumption, she pounds Soju shots amidst a handful of unconscious guests before Su-Havan-one other person wakes up-one of them gives a gentle pigback ride house because she Sweet him again, whispering in poetry. exchange.
Prior to a long time, this chance meeting becomes a ritual, during which Yeong-Gawong rejects itself, and Su-Havan later finds some very important company. While their dynamic is undoubtedly romantic quality, it is equally codendant, and eventually comes from complex obstacles when they want treatment for their related diseases. This more logistic plot thread proves to be surprisingly dull for such a nanoscopic feature, but Kang plays with its withdrawal qualities. The feeling of the film, while the linear slides with a shifting scale, not only from the rigorous cuts for the black color among the surrounding scenes, but also within the people running, such as Yong-Longong’s marginal consciousness She gets out of drinking to catch.
Sometimes, direct two-shot compositions of “Spring Night” a Hong Song-film (a pleasant setup of a director’s character, whose characters also reveal concerns on the complaints), but where It is important to deviate both artists. Kang rarely associates its scenes with a calm atmosphere or atmosphere-to fill the article, a sense of greatness, or a sense of nature-is a pioneer for a sense of nature that Yong-Gong is to compete with words Felt forced to take. With a pain, which is bubbles below the surface, Han plays the role of an unstable chorus, which soon reveals the elements of the Yong-Gyong past as a lulla in conversation.
Unfortunately, Su-Hawan’s presence (or its separate shortage) is a central pillar of the film producing the film that never controls it. He remains a mystery. However, where “Spring Night” stumbles as a traditional drama, it attacks a more ether level, as a film, in which the sound and image work together to address the question: “You How to fill emptiness? ” Answer: Both acoustic intervals take the form, and spread physical places around its central characters – especially during night scenes, when the possibilities seem infinite. It is a film that works best when he is poetic, and is removed from reality, even if it skirts against the range that is often seen.
