“The Woman Who Ran,” Hong Sangsoo’s compact twenty fourth characteristic — about an hour and 1 / 4 from begin to end — consists of three visits. Gamhee (Kim Minhee, a fixture of the Hong cinematic universe) drops in on an outdated pal who’s divorced, one other who’s single and a 3rd whose marriage is a supply of some awkwardness between them. Gamhee, who has been married for 5 years, tells every of her hosts that that is the primary time she and her husband, who’s away on a enterprise journey, have been aside.
The proven fact that she repeats this assertion introduces a sliver of uncertainty into what seems to be a tidy, quiet, symmetrical movie. That uneasiness — the sense that every little thing is completely clear and totally mysterious — is as a lot a directorial signature of Hong’s as smoking, ingesting and sudden zooms in.
You may surprise if the vignettes signify chronologically adjoining episodes on a single journey, or if every is a completely completely different journey. The title suggests flight, and it appears potential that Gamhee is working away from dwelling, searching for refuge amongst ladies who may perceive what she goes by way of with out having to speak about it.
The characters communicate plainly and obliquely, chatting about meals, climate, structure and different safely banal matters, in addition to about love and work. Gamhee eats a scrumptious home-cooked meal with Youngsoon (Seo Younghwa) and a not-so-good one with Suyoung (Song Seonmi), which she compliments anyway. With Woojin (Kim Saebyuk), who Gamhee meets in a restaurant subsequent to a movie show, she drinks espresso and shares an apple.
The apple is one among a number of motifs — one other hallmark of Hong’s model — that loop by way of the film, producing a way of construction within the relative absence of a plot. More than as soon as, an apple is peeled and sliced. More than as soon as, Gamhee watches the interactions of different characters by way of an entranceway safety video.
Youngsoon, who lives with a roommate in a rural space, tells Gamhee a few neighbor’s rooster, who harasses the hens, leaping on their backs and pecking at their necks. He’s not attempting to mate with them, she explains, “he’s just mean.” The males in “The Woman Who Ran” are like human avatars of that nasty hen, intruding on the leisure and intimacy of girls to crow and scratch and ruffle feathers.
One man reveals as much as complain concerning the feral cats that Youngsoon and her roommate are within the behavior of feeding. Another rings Suyoung’s doorbell to whine about how she humiliated and insulted him after they slept collectively. To say a lot concerning the third gentleman may depend as one thing of a spoiler, although perhaps that’s giving him — a former love of Gamhee’s and a author besotted by his personal movie star — an excessive amount of credit score.
Hong, a prolific miniaturist with an unmatched eye and ear for heterosexual romantic disappointment, is commonly in comparison with Eric Rohmer, the French writer-director who specialised in fables of wayward want among the many bourgeois-bohemian class. To me, he extra carefully resembles a short-story author like Ann Beattie or Alice Munro, assembling an anthology of recognizably comparable however all the time distinct approaches to a fastidiously chosen set of characters and themes.
Some of the person tales might hit the feelings more durable or keep within the thoughts longer, and a few viewers might by no means purchase a style for his talky, elliptical, melancholy model. For these of us who enjoyment of his elegant explorations of drunkenness, remorse, lust and ennui, he’s an indispensable comic of recent manners, good and dangerous, and his regular (or maybe compulsive) productiveness is a present. “The Woman Who Ran” is a cinematic sketch, and in addition the work of a grasp.
The Woman Who Ran
Not rated. In Korean, with subtitles. Running time: 1 hour 17 minutes. In theaters.