The Film Stage by Rory O'Connor

Are the grand and absurd moments of our lives perhaps more closely acquainted with one another then we’d like to admit? Grass seems to think so, and it delivers that assumption with a welcome–indeed, almost humane–dose of humor.

Screen Daily by Sarah Ward

Grass demonstrates a fresh type of playfulness from the prolific filmmaker. It’s a movie filled with his usual intimacy, but it’s also one that’s purposefully more concerned with the bigger picture than the individual details.

Screen International by Sarah Ward

Grass demonstrates a fresh type of playfulness from the prolific filmmaker. It’s a movie filled with his usual intimacy, but it’s also one that’s purposefully more concerned with the bigger picture than the individual details.

The A.V. Club by Lawrence Garcia

What’s most fascinating about Grass is the way Hong modulates the film’s atmosphere, gradually transforming its banal beginnings into something genuinely haunting and unresolved.

Los Angeles Times by Justin Chang

Grass, true to its title, is small, sharp and bladelike. It may strike you as more of the same until you see it and its implications and possibilities begin to grow and multiply.

The New York Times by Glenn Kenny

When the writer opts to just let things be, the movie is at its most content.

The Playlist by Bradley Warren

For all the artists that populate Hong’s cinematic universe, the director has yet to foreground the creative psyche in as thought-provoking of a manner as he does in Grass.

The Hollywood Reporter by Deborah Young

Kim’s Areum is edgy, multi-layered and far from docile.

IndieWire by David Ehrlich

Much less consistently enjoyable than many Hong films twice its length, Grass compensates for its dramatic slackness and deviant sobriety by honing in on the ideas that its director’s work often skirts around.