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Screen International by
Kim Min-hee, especially, gives another stellar performance.
The New York Times by
Ms. Kim is simultaneously an ordinary woman and a melodramatic heroine, her performance made more layered and intriguing by the intimation that she may be playing herself.
Village Voice by
Knowing the real-life inspiration for On the Beach at Night Alone may help one appreciate the film’s moral trajectory a bit better. But the movie’s charms work on a much more immediate level, in the way it captures the ever-shifting dynamic between men and women, and the difficulty of matching one’s feelings to one’s words.
Slant Magazine by
Hong Sang-soo simultaneously positions filmmaking as the ultimate act of atonement and evasion, eviscerating himself so that he may live to stage several more films about the futility of getting hammered and worshipping and bedding gorgeous young women.
The Hollywood Reporter by
The story is scarce to non-existent, but Kim Min-hee in the main role keeps the audience awake, waiting for her next socially uncensored outburst of truth.
On the Beach at Night Alone is a fascinating sublimation of autobiography into Hong’s precise creative terms, a bittersweet character study as poignant, witty and deceptively slight as much of his work that also refurbishes it with a unique personal dimension.
Unfussy in form, open in expression and gentle in reach as its maker revisits such recurring preoccupations as loneliness, regret and the value of love in life and art.
The Playlist by
whether because of its personal nature, its occasional ferocity, its unusually dark undercurrents, its audacious defiance of expectation and explanation or Kim Min-hee’s essential performance, On The Beach At Night Alone feels like it will be exceptional even for longtime diehard Hong fans.
The A.V. Club by
It’s also somehow simultaneously one of his (Hong Sang-soo) most straightforward, emotionally direct movies and the weirdest damn thing he’s ever made.
The Film Stage by
On the Beach at Night Alone, a bittersweet tone poem from South Korean writer-director Hong Sang-soo, thinks many a thought about the universe and the future, mostly expressed through nature and the characters’ anxieties about growing old.
Good news is good news --- whether it's real or not.
She lives by instinct with no sense of right or wrong.
In search of his brother's abandoned son, Chen Shen encounters a mysterious town of dreams and memories.
There'll be no comfort for the wicked.
After a quarrel with his girlfriend, Youngsoo sets out in search of her, at the same time that she—or a woman who looks exactly like her and may or may not be her twin—has a series of encounters with strange men, some of whom claim to have met her before.
Sometimes you need to see the photo to see the truth.
A reflective story of love, duty, and the strain that comes from trying to find what you really want.
Respectability has no morals...