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Claire's Camera(클레어의 카메라)

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Korea, France · 2018
1h 9m
Director Hong Sang-soo
Starring Isabelle Huppert, Kim Min-hee, Chang Mi-hee, Jung Jin-young
Genre Drama

On a business trip to the Cannes Film Festival, Man-hee, a film sales assistant, is accused of being dishonest, and is fired. Directionless and confused, she meets Claire, a French high school teacher who is fond of photography. The two form a close bond as Claire creatively helps Man-hee work through her recent firing.

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Screen International by

Undoubtedly the film’s charm comes from the performances of Kim and Huppert, and scenes involving the pair and their tangible chemistry resonate the strongest.


Village Voice by Bilge Ebiri

For all its airy lightness and apparent simplicity, it’s hard not to watch Claire’s Camera and sense beneath its placid surfaces the fretful voice of a filmmaker who longs to return to the elements of his art.


The Playlist by Bradley Warren

If Hong is often a filmmaker who can be accused of making the same movie over and over again, this latent muse brings a veritable freshness to his output by offering an emotional gravity that hadn’t significantly figured into his creative sphere.


The Hollywood Reporter by Deborah Young

Feeling more spontaneous and improvised than ever, this tale of chance encounters at a big film festival is easy on the eye and strewn with humorous gems, as it wryly reflects on the festival business and its denizens.


The Film Stage by Giovanni Marchini Camia

Huppert and Kim are clearly having fun riffing off one another, each speaking in lightly broken English and conveying the pleasures of ephemeral encounters in low-stakes liminal spaces such as the one represented by the festival.


Variety by Guy Lodge

Characters often most reveal themselves when they’re saying nothing of any particular consequence in Hong’s short, loose script.


The A.V. Club by Mike D'Angelo

Serves as a thoroughly engaging divertissement. That it comes across as more than a little half-assed is part of its unruly charm.


The New Yorker by Richard Brody

[Hong's] tightrope-long takes of scenes filmed in settings ranging from the picturesque to the banal (restaurants and apartments, café terraces, Mediterranean beaches) have an intricate dramatic construction, replete with glittering asides and wondrous coincidences, to rival that of a Hollywood classic.

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