It may not be reasonable to claim that there are only two populations of cinephiles and no more, however, when we look at the several types that exist, there are those who have never managed to understand what is the essence of Hong Sang-soo’s ongoing movie project, and those who gaze hypnotically at a sequence that extends over Kim Min-hee leisurely grooming a fat cat for minutes and exclaim joyfully, “This is cinema!” The first type will want to do everything in their power to avoid “In Our Day,” which they will best perceive as yet another vain, albeit visually gratifying retelling, of Hong’s cronk-shut fantastique of endless two-shots, bare aesthetics, oblique and borderline whispering themes – a mandala on a red wheel. The second type will appreciate it for the same reasons, and even expect the new research on “In Our Day,” while it is not as svelte in spatial composition as the last successful offer of the creator, “Walk Up,” does introduce new aspects into the movie, among all other things, quite usual, one welcomes changes.
Export, as always, these requirements include the profession of an editor. It’s conspicuous as the hatred of Mills & Boon category I’m sure their audience loves. Centered on these associations in chronological order, it is the unaffected portrayal and characterization of everyday life that tends to dramatize. What may be the case, however, are inscribed captions. Disregarding how preferable deepening into the appearance of the confined society is for a depth-oriented individual, distractions are likely to be provocative.
Prior to this moment where we see Sang-won who is a famous actress (Kim Min-Hee) we know that she is dependent on her friend Jang-soo (Song Sun-mi) although it seems that she is beginning to think that “it is only herself she can depend on.’” And introducing the previously hard-drinking, heavy smoking poet Hong Ui-ju, Who is Ki Joo bongs other character we are told in the title, who also very recently came in contact with a younger generation of readers, including even the writer himself, is trying to find himself in the world. Maybe it’s a coincidence that he bears the surname of the director, who is a film-maker in this case.
Having just returned from a trip abroad, Sang-won is living with Jang-soo and her delightful cat named Us. Sang-won’s actress cousin Ji-soo (Park Miso) is visiting them and is looking for some advice. The cat goes missing and several episodes later, the cat comes back. The women gossip. And while they are gossiping, there are times when they will say something that would come out as offensive but which does not seem to them at the time. For instance, Ji-soo shares with Jang-soo about losing her virginity or Ji-soo’s disturbing admission that she loved Sang-won’s cat more than even the rest of her friends Was Jang-soo, and has to apologize for it.
At the same time Ui-ju who is in trouble for exercising under doctor’s orders not to drink or smoke is introduced with Ki-joo piping the beer to him. Who is this fresh faced young student shooting a documentary about his life at home.
Another young actor Jae-won (Ha Seong-guk) joins Affo and his friends an aspiring actor who happens to be Ui-ju fan and one of those cliches as it is a Hong Sang-soo picture eventually leads him back to the path of whisky and cigarettes. But to us, for example, Sang-won says about Us the cat and feeds the cat with all treats, although more than what she should, “What for do we even live? Eat up.”
The American thinkers, as wiser and more elaborate as ever, bring fragments of sustenance cultures to foreword, and the bond between the two fantasies… That exaltation of follow your whims for the duration of the transaction is only one of many parallels which link these “different” narrative threads. At times the connections are very straightforward – Sang-won plucks with agitation a few strings of a guitar and the next cut features Ui-ju giving a guitar to Ki-Joo and telling her to keep it for him never to use it. Some are paraphrasable, such as the example of Sang-won regarding the irritation of the instant ramen that Uiju would customize by adding chili paste to it. And at times they are just repetitive elements, such as characters sleeping in different parts of the room. Then Sang-won, Ui-ju and Us are sleeping with the cat in the middle of her, him and Us, napping.
It’s never stated, in fact, that Sang-won and Ui-ju do get to be the “Us” – they don’t appear in the same frame ever not even in voice over and while one does not addressing the other Lady Sang won Mar has been asked about an unknown friend she rather needs,” to save occurrences like this one.” Still more amusing is the interpretation, on the other hand, of “In Our Day” considering the fact that those two are in love, whom of course love, who lived in the past, the present – perhaps, and future – definitely.
In this way, the film operates as an elaborate love poem, exploring the theme of two people sharing the same experiences at the same time, but not physically together. Our days, even when spent in separation, can be ‘our’ days.
We know that the Hong hater will, in this instance, be right again and will argue that there aren’t that many ‘light’ filmmakers around whose light and slightly chaotic films get the kind of scrutiny that makes the hunt for delusions even more appalling than the first. But the Hong devotee will, also quite rightly, retort that the director has justified that trust, and the pleasure of his elusive ‘treats’ is that the more one attempts to make out the clunky surfaces of these treats, the brighter they get. Neither turn off your brain and obtusely escape, nor is it banal genre of docs that actually buckles down on your time and willpower, Hong’s genre is rather a reliable source of this distinct pleasure. ‘He says to be grateful for what is best instant in front of us to Ui-ju as he gulps down liquor and asks for a cigarette as a follow-up the learner’ such stupendous question as ‘what is the meaning of life, art, and truth. Stay grateful for minor things, for instance, ‘In Our Day’’.
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