Runtime: 2 hrs 8 mins
Theatrical Release: Jan 9, 2008 Limited
Synopsis: A creatively blocked film director journeys to an off-season beach resort to finish his script in this slyly observant comedy from Korean auteur Hong Sang-soo. Whether needing the help, or merely inviting distraction, Kim Joong-rae (Kim Seung-woo) petitions his production designer Won... [More]
Genre: Dramas
Starring: Kim Seung-Woo, Kim Tae-woo, Ko Hyun-joung, Song Sun-mi
Woman on the Beach, perhaps [director Hong's] most accessible film (and often a funny one, too), is a good introduction, even if it is not a masterpiece. Here's hoping more of his films see the light of an American day.
Hong [Sang-soo] moves slowly but deftly through scenes rich with social games and veiled confessions and allows his characters to emerge sadder but wiser.
A richly satisfying film that compassionately probes the human heart while preserving its elusive mysteries.
Reminiscent of Godard's Contempt, but writer-director Hong Sang-soo--South Korea's foremost chronicler of romantic maneuvering--is more aptly compared to Eric Rohmer for his subtle comedy.
You won't need a degree in Korean cinema to anticipate that complications will arise.
The scenery's great and the performances adequate, but wake me when it's over.
Woman On The Beach is a stripped-down, witty explication of how we all get stymied by the impulses and options inherent in the simple act of living.
Newcomers intoxicated by Hong’s amorous pileups and power plays will hopefully treat the movie as the gateway to an incredible back catalog.
Korean director Hong Sang-soo’s Woman on the Beach offers flavors of quarterlife angst and romantic insecurity for which American audiences clearly have an insatiable appetite.
The pace is leisurely, the humor sly, and the cast superb. All in all, a civilized way to spend two hours.
Top Critic
Writer-director Hong Sang-soo, called the Asian Eric Rohmer by some, has crafted what may be his most accessible exploration of young adult relationships
Unpredictable and refreshingly inventive, this flick certainly stands on its own as perhaps South Korea's kookiest contribution to the battle-of-the-sexes genre.
This witty Korean satire dissects men's self-absorption, insecure sexuality, and fear of intimacy with critical honesty, wry humor, and delectable irony.
This film lacks Hong Sang-soo's usual insight and narrative innovation.
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