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Pathways and Detours

Pathways and Detours new yorK notebooK WILLIAM JOHNSON PATHWAYS AND DETOURS Like You Know It All (Hong Sang-soo) Mid-August Lunch (Gianni di Gregorio) Lourdes (Jessica Hausner) Hong Sang-soo is a South Korean filmmaker whose latest film, Like You Know It All, turned up recently at the Film Society of Lincoln Center. I knew nothing about him and therefore turned up to see what lay behind the uninformative English title. The principal fictional events are two small offbeat film festivals whose filmmakers and attendees often become involved in peculiar arguments, ridiculous assertions, heavy drinking, and sex. I've never attended any film festival remotely like Hong's depiction, but then I've never been to South Korea. In any case, much of the film is sheer unrealistic fun. Most of the people at the two festivals are in frequent circulation as groups form, divide, disappear, reappear. I often found myself starting to smile at an incipient comic event that suddenly evolved into a different one and required a new smile. For much of the running time I played catch-up. In short, Hong's idea of continuity is often a series of swift changes of mind. For example, after the first day's sessions are over a festival http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press

Pathways and Detours

Johnson, William
Film Quarterly , Volume 63 (4) – Jun 1, 2010
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
Subject
New York Notebook
ISSN
0015-1386
eISSN
1533-8630
DOI
10.1525/FQ.2010.63.4.10
Publisher site
See Article on Publisher Site

Abstract

new yorK notebooK WILLIAM JOHNSON PATHWAYS AND DETOURS Like You Know It All (Hong Sang-soo) Mid-August Lunch (Gianni di Gregorio) Lourdes (Jessica Hausner) Hong Sang-soo is a South Korean filmmaker whose latest film, Like You Know It All, turned up recently at the Film Society of Lincoln Center. I knew nothing about him and therefore turned up to see what lay behind the uninformative English title. The principal fictional events are two small offbeat film festivals whose filmmakers and attendees often become involved in peculiar arguments, ridiculous assertions, heavy drinking, and sex. I've never attended any film festival remotely like Hong's depiction, but then I've never been to South Korea. In any case, much of the film is sheer unrealistic fun. Most of the people at the two festivals are in frequent circulation as groups form, divide, disappear, reappear. I often found myself starting to smile at an incipient comic event that suddenly evolved into a different one and required a new smile. For much of the running time I played catch-up. In short, Hong's idea of continuity is often a series of swift changes of mind. For example, after the first day's sessions are over a festival

Journal

Film Quarterly – University of California Press

Published: Jun 1, 2010

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