Kim keeps dialogue to a minimum and provides the barest of story arcs, using a handheld camera to probe subtle shifts of emotion in her nonprofessional actors.
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Sensitive, modest, thrillingly self-assured first feature by So Yong Kim, was one of the standouts of the 2006 Sundance Film Festival -- exactly the kind of thoughtful, independent work one hopes to find there and too rarely does.
While Kim is unable to keep us riveted on her near-silent performance, the script and direction have a gentle sensitivity.
The camera lingers on the characters' minimal, but expressive actions, allowing the viewer to soak in their emotions rather than having them related to us through dialogue. In doing so, In Between Days is more of an experience than your average movie.
Revealing without being especially compelling, In Between Days offers a bleak, rigorously naturalistic portrait of an Asian-American teenager's physical and emotional dislocation.
With In Between Days, the filmmaker captures feminine melancholy with rare precision. Find this movie.
A small slice of a suspended life, intimate and filled with the mundane details most people forget when the waiting is over and their real lives begin.
The director deserves kudos for setting her movie during such a gray, dreary Toronto winter. It couldn't have been easy to find a climate that so resembles adolescence.
This superb debut feature by Korean-American director So Yong Kim seems to be constructed entirely of the ineffable and intangible, those fleeting moments that most movies treat as throwaways.