If you are familiar with Hong Sangsu, you may think you know what to expect from “what nature tells you.” DIY DIY pumps new films in practice between meals, each of which has its natural observations about the characters who drink in informal gossip, but whoever exists in depth. Its 33road The feature includes this wide approach, as it ultimately sewers the way to a handful of revelation caused by pent -up opinions. However, the more experimental work of Hong at some point, for reasons that may not be clear at first.
The story was marked on a significant foggy video, and begins to fight the poet, which is struggled with thirty poets (Ha Seongguk) as she drops his girlfriend Junhee (Kang Soyi) at her parents’ house in the Hilside suburb, just to discover that she is sweetened and much more than sprawling limbs Which assumed, or led to belief. They do not initially intend to enter Donghwa, but the opportunity to meet with Junhee-Oryeong’s proud but polite (Kwon Haehyo)-he turns informal afternoon into a long scenario that is negatively with sudden layers.
It coincides with the mother of Jonhi Songi (Zhu Yunihi) is a poet, but she is far from most of the day, which deprived Dongua, the ease of the familiar conversation. While Junhee joins her older sister, Homebody Neunge (Park Miso), DongHwa and Oregon spend a long time to get to know each other. (The young couple was three years together, but the possibility of introducing Donghwa to her father had only originated). The conversations that followed are curious, and are not a lot of public tension, but all the time, Hong is grown with the signs of dinner and drinks. Does it surprise you to know that Donghwa cannot carry alcohol?
However, while the disagreements of drunk Hong are usually formed as breaking a loose emotional load, “What nature says to you” hides the complex economic concerns that force Dongua to hide himself in shields, even when isolated. Oryeong is nothing but welcoming, and it is a chosen cinematic example for “Abi Bard” if there is one, but the nature of his meeting with DongHWA layers even the most healthy exchanges with strict tones to interview work (the desired position, of course, being a son -in -law).
The film seems to be bound during most of its dialogue, but this narrow disclosure helps in the lightness of the cinematic hand in Hong. What does not deserve the Jonghi family, and for the successful father in Donghwa- a famous lawyer, and it seems that he appears to be a grudge-is increasing tensions around the location of Donghwa in life, and an economic privilege that appears to be conservative to accept it. It is difficult not to read this scenario as considering the Hong Education (and difficult acceptance), as an artist born in the film industry family, and providing many privileges in his youth.
Survival as a poet is a devil deal, and even Donghwa offers an offer to drive a used car, but it seems that Hong is intentionally designing the character as a younger version, and perhaps naive from the elderly in the prominent philosopher (Ki Joobong) from his last drama “in our day”, to reach To his distinguished comfort. However, the actual poetic hints of Donghwa and its philosophy are vague. His appearance appears to be designed to spend an independent poet or artist: Uryung notes this about his face’s hair. In today’s elimination with the Junhee family, the young poet is forced to face difficult ideas about himself and his relationship, which seems to be unannounced or ignored between him and Junhee for a very long time.
What makes “what nature tells you” is particularly strong as a hidden personality exhibition is to use the layers of the video model. Hong with a withdrawn look is cut off due to sudden movements, such as spacecraft and photography in continuous conversations. They do not overwhelm the film, and they work to emphasize specific beats, but they also fly in the face of the usual feeling in Hong to control the size, as if a primitive digital camera was being treated by an excessive novice operator in the documentation of the weekend activities. The film is practically an amateur video, or a home video awaiting to take memories before making it – or a wedding video in which a wedding may occur or not.
Hong usually calls his characters with some objective perspective. Although this is the case in the beginning here, the soft aesthetic of camouflage-which, although it is not as clear as in “in the water” in Hong, may make viewers sometimes while analyzing the ongoing drama-to be detected Soon you are rooted in a specific view, despite the physical removal of the camera mode. In a transient exchange, Donghwa talks about the need for glasses to see him for life for life, but all indicate that the events of the film have been seen or imagined through the lens of his specified global outlook. There is a lot of talking about beauty in the movie, especially with regard to the landscapes around the characters – but it is difficult to see it through the silent visual approach. Hong everything except puts us in the area of the poet, who simply explaining the world around him is a strain.
Through his flawless artistic hole with these visual defects, Hong creates a unique mirror of “Our Day” – a wonderful intelligence movie – and makes a story that he looks back on developing early puberty. A few filmmakers have been brilliantly released in the specific anxiety of asking whether originality is something even in a person’s jurisdiction, which is the confrontation that is not considered anything if not original.