The second feature of Kang Mi-Ja-first after a 17-year-old “Night Night” gap is a compressed relationship drama for ships that pass at night, backed by a pair of stellar shows that work in completely different situations. It is adapted from the novel Kwon Yeo-Sun, and her stories about a woman addicted to alcohol and arthritis in the middle of the afternoon, has a quality similar to fictional stories, and tells us the oblique one who exceeds time in unique and familiar ways. Although this template helps her to re -create interesting sensations, it prevents the film from communicating completely, although sometimes shattered moments by creating its representatives
Kang’s way of her characters has a final quality adjusted to comply, but given the time of the film for only 67 minutes, it proves economically. We first meet with Su-Hwan (Kim Seol-Jin) as he is preparing for a friend’s wedding after the excavation, while one of his acquaintances accuses him of questions about his financial problems, unaware of the health issues faced by Soo Huan. Instead of paying, it skills in the frame. The image is quickly consumed so close to a strange person, Yeong-Gyeong (Han Ye-RI), in the event mentioned above. A woman from her mysterious suffering that she consumes fully, and she highlights footage of Soju amid a handful of unconscious guests before Su-Hwan-the only one who left him wake up-gives her a nice ride as she wanders an exchange.
Before a long time ago, this opportunity meeting becomes rituals, with Yeong-Gyeong outperforms themselves, after which SU-HWan finds some companies that affect the need. While there is undoubtedly romantic quality for its dynamism, it also depends on both, and in the end it meets complex obstacles when they ask for a treatment for their diseases. This logistical plot thread proves that it is amazingly weak to such a nanoparticle, but Kang plays with his withdrawn characteristics in great ways. The movie’s feeling slides, although it is written, along a variable scale, with harsh pieces to black not only between neighboring scenes, but also inside the continuous scenes as well, as if it were capturing the awareness of the Yeong-Gyeong during black drinking.
Sometimes, the direct structures of a piece of “Spring Night” are similar to the calming settings of Hong Sang Sue (director whose characters also tend to reveal fears on Libations), but where the artists differ. Kang rarely drinks her scenes with a calming atmosphere or an uproar-feeling, from urban life, or nature, to fill the space-which leads to a reflection Yong-Gyeong feels that he is forced to address words. With a pain roaming under the surface, Han takes the role of an apparent choir, and revealed the elements of Yong-Jung’s past as soon as there is calm in the conversation.
Unfortunately, the presence of Suwan (or his lack of distinct) is a major column for building the movie so that the story is never overcome. It is still a mystery. However, as “Night Night” as a traditional drama, it strikes at a more ethereal level, as a movie in which the sound and the image work alongside to address the question that waves on the horizon: “How do you fill the void?” The answers take the shape of both vocal gaps, and the exquisite physical spaces around their central characters – especially during night scenes, when the possibilities appear unlimited. It is a movie that works better when it is poetic, and it is removed from reality, although it is a revolution against those borders often enough to be observed.