In Front of Your Face-720P

In Front of Your Face-720P

In Front of Your Face-720P

In Front of Your Face-360P

In Front of Your Face-720P

In Front of Your Face

Watching this drama really just like watching 80's tv series. The duration, the editing, the camera movement, the dialogues, even the actors and actresses. Don't expect super bright cinematography, fast pace editing, or beauty faces in this movie. It's just plain and flat. But that's what make this movie different. And somewhat refreshing. At least for me. Not for everyone 7/10.

A woman meets her sister after a long interval and then meets up with a director who remembers her from a film she made when she was younger. Lots of talking and drinking. Absolutely no action of any kind. Its boring, really. Oh,, did i tell you there's a WOW! Moment. Not for the michael bay crowd.

Hong Sang-soo is a filmmaker that has simple formulas that he can work some creative and comedic ideas into. This almost paint-by-numbers approach means that it is easy for him to churn out a large number of films, coming with at least one new effort every year. "In Front of Your Face" is a film that features all of the usual techniques of a Hong film, though this time around he has not thrown in a twist or gimmick, going for a more conventional character narrative. Wanderings: Our heroine, Sang-ok (Lee Hye-yeong), has returned from the US to visit family, staying with her sister Jeong-ok (Cho Yun-hee). She has an appointment scheduled, though until then, she drinks coffee with her sister, and wanders the streets and parks of her past. As with any Hong film the lead is a little lost and wanders alone in search of something; they're not quite sure what. The more Sang-ok wanders, the more we start to notice something is on her mind. The lustful director: It turns out the appointment is with a director, Jae-won (Kwon Hae-hyo), who wants to cast Sang-ok in his next work - she having been a minor actress in a previous life back in South Korea. It is here that Sang-ok makes what's troubling her public, and why she cannot commit to the project. Jae-won has been a fan of her work from his youth, and though married with children, working on his next project is not his only intention. Conversations over food...and drink: This has always been the key feature of any Hong film: Rohmer-esque extended takes of conversations, zooming in for added awkwardness. Sang-ok has coffee and then lunch with her sister and drinks with the director as they discuss potential future plans - ones we learn will not be possible. It is these conversations over drinks where revelations are made, and the longer the take, the more is revealed, as the actors themselves come to terms with their characters' plight. It would be typical here for Hong to turn the tale on its head or re-tell it from a different perspective, though no such foible happens here. Instead the situation is how it is; the meeting with the director now concluded and tomorrow is another day. What does occur, however, is a more rounded ending for a Hong film - and indeed it is the ending which ties all this together nicely. Hong films are often short and/or split into various parts, making them almost like shorts. Perhaps that is why here a more standard-length film with a single narrative arc does start to drift towards the middle. We feel Sang-ok is wandering nowhere and just spending the day with her sister. But the importance of this shared time is visualised with the strong closing image as the camera fades out. The small things have a new significance and sharing the day with her sister is what Sang-ok is looking for. Here Hong has gone for love over lust and family over affairs. This lacks some of the comedy - though it is still there - of his other films and has a more straightforward, linear narrative. But this is certainly a Hong film. Not his best, but this offers something a little fresh for him and shows he is still full of ideas despite his large output. The scene has not faded just yet. Politic1983.home.blog.

"This moment is grace; paradise." Sangok (Lee Hye-yeong) Having just published my review of the block-busting Downton Abbey: A New Era, I'm reviewing a minimalist treasure from South-Korean auteur Hong Sang-soo, In Front of Your Face. Although the future for Downton's Crawley family is problematic but full of sumptuous promise, in Face, life has geared down for middle-aged actress Sangok in a way that lets her see life as "paradise." Because fate has firmly placed her in the present, she evaluates her life with an existential celebration of its goodness. Although beyond her inner thoughts, nothing much happens in this short story, being a fan of Seinfeld I'm used to that minimalism. Nothing happens there, yet everything. So, too, in Face, where her coffee with director Jaewon (Kwon Hae-hyo), who wants her to star in his next film, becomes a seduction and a musing about life that could be summed up by saying the world in front of her face is perfect and beautiful. Writer/director Hong's camera is almost static, a fine place to concentrate on characters, their simple dialogue, and the subterranean truths that wait to surface, not at once, but distributed gently in the exposition of the story. Given our isolation over the last few years from the global health crisis, In Front of Your Face is a film perhaps to be seen by yourself as an imitation of its anti-story makeup. It practically begs for you to think of nothing other than your own place in the cosmos. Like her, you may determine to live in the present--you'll probably determine that life is beautiful.