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.
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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.
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.
Hong Sang-soo's film is governed by a narrative circle that suggests relief as well as entrapment.
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.
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.
Ms. Huppert’s presence — steady, warm, thoughtful but with a casual air — keeps the entire enterprise classically comedic.
Characters often most reveal themselves when they’re saying nothing of any particular consequence in Hong’s short, loose script.
Serves as a thoroughly engaging divertissement. That it comes across as more than a little half-assed is part of its unruly charm.
[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.