il y a vraiment quelque chose d'unique dans les films de Hong sang soo ( j'en ai vu que deux mais j'imagine que c'est souvent comme ça) Il ne raconte rien, ne fait que montrer des moments que de la "vie de tous les jours", on pourrait commencer le film à un moment aléatoire on ne serait même pas perdus. On retrouve une simplicité agréable ( surtout quand ya isabelle ofc), des dialogues très légers, quasiment toujours le même plan, ça change et c'est plutôt poétique

il y a vraiment quelque chose d'unique dans les films de Hong sang soo ( j'en ai vu que deux mais j'imagine que c'est souvent comme ça) Il ne raconte rien, ne fait que montrer des moments que de la "vie de tous les jours", on pourrait commencer le film à un moment aléatoire on ne serait même pas perdus. On retrouve une simplicité agréable ( surtout quand ya isabelle ofc), des dialogues très légers, quasiment toujours le même plan, ça change et c'est plutôt poétique

I think Hong taps into some culturally specific pain points, using Huppert as the cinematic mirror. The two women who are asked what playing their respective instruments make them feel give the exact same rehearsed answer. Asking to be emotional in a sober context, a juxtaposition to Hong’s usual emotional conduits, reflects the uncomfortability involved in talking about one’s feelings. The mother-son conflicts and alluded-to father-daughter relationships further drill into the culturally unresolved.

Huppert is not without her own Western vanity though. She has a striking line about the dead poet, finding some kind of reprieve in the deceased’s beauty. There’s further implication in her own vices when she directs the feeling questions toward senses of pride. It’s slight because her novel approach to teaching French is infused with her own sense of pride. Her command and tutelage of the language represents her own proverbial instrument.

The Western-Korean romantic dynamic is definitely a theme. Huppert dubiously flirts with Hong vetern, Kwon Hae-hyo. Like what was up with that wink?? But the later reveal of her actual romantic relationship with Inguk is the catalyst to the familial cataclysm between Inguk and his mom. I don’t think it’s a far fetched reach to see the Korean female’s suspicion of the white woman. Like Kwon’s wife asks him why he drank so much.

I found this a surprisingly uplifting and upbeat Hong. Huppert infuses a more whimsical and straightforward investigation into the soul. “What do you feel?” And ironically the biggest outburst from Inguk’s mom is a sober one. Very unlike Hong’s standard fare. But don’t worry, everyone else is drinking Makgeolli the whole film.

I’ll never get tired of saying this, “no one does nothingness like Hong.”

I think Hong taps into some culturally specific pain points, using Huppert as the cinematic mirror. The two women who are asked what playing their respective instruments make them feel give the exact same rehearsed answer. Asking to be emotional in a sober context, a juxtaposition to Hong’s usual emotional conduits, reflects the uncomfortability involved in talking about one’s feelings. The mother-son conflicts and alluded-to father-daughter relationships further drill into the culturally unresolved.

Huppert is not without her own Western vanity though. She has a striking line about the dead poet, finding some kind of reprieve in the deceased’s beauty. There’s further implication in her own vices when she directs the feeling questions toward senses of pride. It’s slight because her novel approach to teaching French is infused with her own sense of pride. Her command and tutelage of the language represents her own proverbial instrument.

The Western-Korean romantic dynamic is definitely a theme. Huppert dubiously flirts with Hong vetern, Kwon Hae-hyo. Like what was up with that wink?? But the later reveal of her actual romantic relationship with Inguk is the catalyst to the familial cataclysm between Inguk and his mom. I don’t think it’s a far fetched reach to see the Korean female’s suspicion of the white woman. Like Kwon’s wife asks him why he drank so much.

I found this a surprisingly uplifting and upbeat Hong. Huppert infuses a more whimsical and straightforward investigation into the soul. “What do you feel?” And ironically the biggest outburst from Inguk’s mom is a sober one. Very unlike Hong’s standard fare. But don’t worry, everyone else is drinking Makgeolli the whole film.

I’ll never get tired of saying this, “no one does nothingness like Hong.”

It seemed so natural and also a little awkward that I felt like I was disturbing something. Isabelle is so silly I love her 😭🫶

It seemed so natural and also a little awkward that I felt like I was disturbing something. Isabelle is so silly I love her 😭🫶

One of the more underrated aspects of Hong Sang-soo's filmmaking has to be how easily he gets you invested in his movies. He will drop you right into a scene with characters you've never met before and you're immediately enthralled. 

A Traveler's Needs is perhaps a little more laidback than some of his other work, I feel because of its inclusion of Huppert (who is great btw). Huppert brings a gentle flow to the film, in part because she forces the movie to work with bridge languages, no one speaks their mother tongue with her there (including herself) and a product of that is a lot of the conversations feels more vulnerable and off the cuff. It all works as a poem itself, using motifs and rhymes to flesh out its ideas.

One of the more underrated aspects of Hong Sang-soo's filmmaking has to be how easily he gets you invested in his movies. He will drop you right into a scene with characters you've never met before and you're immediately enthralled. 

A Traveler's Needs is perhaps a little more laidback than some of his other work, I feel because of its inclusion of Huppert (who is great btw). Huppert brings a gentle flow to the film, in part because she forces the movie to work with bridge languages, no one speaks their mother tongue with her there (including herself) and a product of that is a lot of the conversations feels more vulnerable and off the cuff. It all works as a poem itself, using motifs and rhymes to flesh out its ideas.

| ‎ | > ‎ “A Traveller’s Needs” is a Sunday afternoon walk in the park. You move through nature guided by an instinct – or maybe by nothing at all – and in the greenery, various scenes unfold: a group of friends having a picnic , children playing, an elderly couple strolling among the trees, a girl reading on a bench. When you walk through the park, as in life, you often stray from the path; there’s no guiding thread, only people, thoughts and souls, drifting in the wind like fragile dandelions. Hong Sang-soo’s style definitely isn’t for everyone, but it manages to effectively capture a really human feeling of aimlessness, improvisation and ambiguity – that can be comforting and a great source of inspiration, but also surround you like a forest and make you feel as small as a blade of grass.

| ‎ | > ‎ “A Traveller’s Needs” is a Sunday afternoon walk in the park. You move through nature guided by an instinct – or maybe by nothing at all – and in the greenery, various scenes unfold: a group of friends having a picnic , children playing, an elderly couple strolling among the trees, a girl reading on a bench. When you walk through the park, as in life, you often stray from the path; there’s no guiding thread, only people, thoughts and souls, drifting in the wind like fragile dandelions. Hong Sang-soo’s style definitely isn’t for everyone, but it manages to effectively capture a really human feeling of aimlessness, improvisation and ambiguity – that can be comforting and a great source of inspiration, but also surround you like a forest and make you feel as small as a blade of grass.