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Yesasia has a new listing for Hong Sang-Soo's Woman on the Beach, with english subtitles. I like what Doug Cummings had to say about it, and greatly look forward to seeing it myself.

Doug C wrote:Having seen all of Hong Sang-soo's work except for his debut (The Day the Pig Fell Into the Well), I was prepared for this film's clever, self-referential structure, layers of Rohmerian coincidence and intrigue, and numerous scenes of lovemaking and inebriation. What I didn't expect was its whimsical spin on these elements and its almost demure restraint; I'm tempted to describe the film as Hong's most charming and warm work to date, but I hasten to emphasize the psychological depth and tragic notes beneath its surface.

(edit) In many of Hong's films, relationships come across as fatalistic compromises, but this film celebrates the potential wisdom and joy to be found in even short-lived connections, and it's an observant delight from beginning to end.

It also seems that it was popular with just about every forum member who attended the TIFF this year.

I just got this yesterday -- and watched it last night.

This looks good -- and the subs seem fine. (No subs on the extras -- as typical for Korean DVDs).

The film itself is wonderful (as I would have expected). Less narratively complex than even "Woman is the future of Man" -- but with great characters. And, atypically, a few moments that evoke thoughts of Rivette (including our heroine's traipse through a woods -- and some wary female-female bonding).

Definitely his best film.

Barmy wrote:Definitely his best film.

Can't say that -- not after one viewing. and it hardly makes much difference -- as all his films to date have been excellent.

I think each of his three previous films are stronger than Woman on the Beach. I saw this twice in the span of a few days earlier in the year. It diminished somewhat on a second viewing, which I had not been expecting. It's definitely entertaining, but it's also probably his most conventional film. I think perhaps it was a little long. Hong's films (broadly speaking) seem to work better in the 90 minute range than the two hour range. The subplot with the dog in particular felt very disposable and a little unsubtle.

The traipse through the woods had me thinking Weerasethakul more than Rivette, probably because I'd just seen Syndromes and a Century. Either way a lovely moment.

Edit: Anyone know what's up with the IMDb listing a U.S.A. runtime of 100 minutes? The version which screened at the New York Film Festival was definitely 127 minutes.

For me the accessibility was appealing and refreshing.

Woman on the Beach and ten other Korean films, from both North and South, will be showing this weekend at the University of California-San Diego campus. There will also be several lectures following most of the films, and an open panel discussion, all free and open to the public (There will also be an opening night reception dinner featuring various Korean dignitaries, but most of us won't be allowed into that invitation-only event). A full listing of the program can be found here and here. I'm especially intrigued by the several DPRK films that will be shown, such as Phyo Gwang's 2004 Blood Stained Woodblock. Anybody have any recommendations from the list of films to be shown?

Hong Gil Dong Kim Kil-in, 1985
To the Starry Island Park Kwangsu, 1994
Welcome to Dongmakol Park Kwang-hyu, 2005
Our Lifeline, Kim Yu-Sum, 2002
Koryo Sam David Chung, 2007
Peppermint Candy Yi Ch'ang-dong, 2000
Our Fragrance Jon Jong-phal, 2003
May 18 Kim Ji-Hun, 2007
Blood Stained Woodblock Phyo Gwang, 2004
Woman on the Beach Hong Sang-su, 2006
O My Love Ri Hyon-Su, 1984

I have seen a couple of PARK Kwang-su's early films -- and both were quite impressive -- so I would certainly want to see To the Starry Isle.

If Secret Sunshine is not LEE Chang-dong's best film (still making up my mind), then Peppermint Candy would be. Devastating.

I love the Hong film (already noted)

In terms of cinematic value, I dis-recommend the utterly ersatz Welcome to Dongmakol (along with its recycled-sounding score by Jo Hisaishi -- his worst ever, possibly). It was immensely popular -- so seeing its superficial treatment of the interesting subject matter (the complicated situation in the remote boondocks during the Korean War) might have some sociological value.

gubbelsj wrote:To the Starry Island Park Kwangsu, 1994

Park is one of the most important figures of the New Korean Cinema of the late 80s / early 90s, and this is my favourite of his films, using an isolated island community as a prism through which to look at recent Korean history. It has elements of Hou Hsiao-hsien and Shohei Imamura, but Park is his own auteur. His Black Republic and A Siingle Spark are also excellent.

zedz wrote:

gubbelsj wrote:To the Starry Island Park Kwangsu, 1994

Park is one of the most important figures of the New Korean Cinema of the late 80s / early 90s, and this is my favourite of his films, using an isolated island community as a prism through which to look at recent Korean history. It has elements of Hou Hsiao-hsien and Shohei Imamura, but Park is his own auteur. His Black Republic and A Siingle Spark are also excellent.

I've seen these other two films -- but am still waiting for a chance to see "Starry Island". His films were "incubators" for lots of important future film makers -- like HUR Jin-ho and LEE Chang-dong.

I've recently noticed some very cheap Malaysian DVDs of this film and Lee Yoon-ki's Ad-Lib Night online. Can anyone comment on them?

Aren't Malyasian DVDs more likely to be cut/censored?