Hong Sang-soo’s The Woman Who Ran is relatable for anybody of their 30s; there’s wine, hardly any main drama, and many dialogue round flats and cats. In three vignettes, Gam-hee (Kim Min-hee) visits previous pals. They take pleasure in small discuss, have one thing to drink, and revel in easy quotidian pleasures. By now, the prolific South Korean director has mastered elliptical narratives, discovering other ways to utilize repetition in every movie. With every phase, be aware of how Gam-hee’s telling of her supposedly idyllic marriage is recited virtually verbatim. As if going by means of a script, she explains how her husband has needed them to all the time be collectively during the last 5 years — she says that he says, “People in love should always stick to each other.” Gam-hee appears pensive, even elusive, which casts a darker shade on her ponderings about love and happiness.
Right here Hong offers explicit consideration to closed areas the place ladies converse, whereas males are left on the door (typically actually), their presence diminished to disturbances. Right here, the same old sort of Hong protagonist — an erudite middle-aged man who’s both a author or a director — is relegated to a short and minor look. All his different acquainted tropes are in place, particularly convivial scenes oozing with intimacy. There’s additionally the invocation of the cinema as a protected harbor, a spot to reconnect with oneself. After unexpectedly bumping into somebody from her previous, Gam-hee retreats to the consolation of a theater. At this second, with such areas tentatively reopening after an extended lockdown, that’s an particularly poignant expertise for real-life audiences.
The Woman Who Ran is now taking part in in choose theaters.