Introduction (2022)
Introduction
”Youngho navigates important conversations with loved ones in different settings.”
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Why watch this film?
Hong Sang-soo (from 'The Woman Who Escaped') is a director who works very well with feelings of loss and rejection. We know that in life you can't win them all and Sang-soo knows how to bring that to the screen - whether the theme appeals to you or not. In 'Introduction' he tells the story of millennials, a generation that insists on their own ideas but never completely disconnects from their parents. With black and white photography, the film takes on a melancholic but shallow tone, leaving deeper reflections only on the surface. This feeling can be both bad and good, as it makes you think about the story and compare it to your own life, trying to better understand the direction of the characters.
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Youngho goes to see his father who is tending to a patient. He surprises his girlfriend, Juwon, in Berlin where she is studying fashion design. He goes to a seaside hotel to meet his mother and brings his friend Jeongsoo with him. In each instance, he anticipates an important conversation. Sometimes a shared look, a shared smoke, can mean as much as anything we could say to those close to us.
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From the same director
The Woman Who Ran
Hong Sang-soo (of 'Alone at Night on the Beach') is the filmmaker of the everyday. He directs his camera to seemingly banal conversations in compact settings, few actors, no effects and even a certain exaggeration in the use of zooms. And that's exactly what we see in 'Domangchin yeoja'. The feature film follows three acts of the same woman, played by the long-time muse of the filmmaker, Kim Min-hee. In the first act, she visits a friend who has separated and now lives with another woman. It is a place far away from everything and everyone, with mountains appearing in the window view. In this conversation, as usual in the Korean cinema, we understand a little more about who our protagonist is: she is married, has been living with her husband for five years, from whom she has never been away. Then she visits another lonely friend in an apartment and finally has a casual meeting with an acquaintance at the cinema. This meeting says a lot about Min-hee and Sang-soo who, in addition to being muse and director, also faced a scandal in real life as lovers. From this mix of meetings, we have a dense film, despite its apparent sensitivity, in which the protagonist gives us signs of what she lives or has already lived. Much is between the lines, in the unsaid. That is why it is a film that requires sensitivity on the part of the audience, who in turn must understand and accept the slowness and the rhythm of the story.
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