Readers of this blog will know I’m a huge fan of Hong Sang-soo; so, I couldn’t have been more excited to learn the Korean auteur was releasing not just one, but two films at this year’s New York Film Festival, continuing the incredibly prolific streak that has characterized this latest stage of his career. This film follows a theater director, Sieon, returning to his alma mater in order to direct a play, all while bonding with his estranged niece in the process. I feel like Hong’s movies are always impossible to summarize because, ultimately, they transcend their plots; and that’s especially true for this latest offering. Breaking ground that’s much different than his past films, this newest movie sees the director pondering the limits of the medium itself, discovering how to break through and find something truthful. At once breathtakingly vulnerable and formally ambitious, this newest work from one of the greatest living masters will stick with you long after credits roll.
At one point in this film, Sieon speaks of the need for characters to transcend dialogue, and I think this moment provides a uniquely significant insight into Hong’s artistic and intellectual project. While he has historically been unafraid to take bold formal departures, here he’s much less interested in playing with form than he is in questioning its limitations. The boundary between authenticity and the inherent artifice of cinema is porous at best, and I think Hong’s always been interested in exploring that gray zone. Maybe this is why his films are so patient, letting viewers sink into the moment as though we too are seated at these tables, drinking and eating and laughing alongside the characters. It’s through these interactions that we get to know them on a very intimate level. To paraphrase Sieon: it’s less about dialogue and exposition than it is how a character tilts their head or shifts their gaze. These gestures may seem minor, but it’s in that smallness that Hong is able to give us the entire world.
This, of course, wouldn't be possible without the actors embodying their performances with an impressive commitment, and thankfully that's exactly what they do. Kim Min-hee is as wonderful as always, bringing so much powerful subtlety into her role. It helps balance her uncle's energy. This isn't to say that Kwon Hae-hyo was heavy-handed or even less subtle, I just think his character was a lot more willing to put himself in vulnerable situations (especially after a few bottles of soju). The supporting cast also did a wonderful job, with Cho Yun-hee bringing a great chemistry to her scenes with the aforementioned actors. There are even a group of younger actors who play Sieon's students that do an incredible job in one particularly memorable long take. In a film that places so much emphasis on authenticity, these actors do a wonderful job of foregrounding that principle in their performances.
This sense of raw vulnerability at the core of his work even permeates the visuals. There are some shots that look as if the camera’s ISO setting is very high, causing a lot of digital noise to flood the image. While this is often seen as something to eschew, Hong proves that it’s a wonderful way of adding texture and a sense of the human touch to each frame. This was obviously purposeful, as it doesn’t happen in his other new film, A Traveler’s Needs, and I think it works beautifully. Each of these characters carries their own burden, and all are trying to balance their artistic passions with personal and professional struggles; so, muddying up the image at certain points creates a sense of tone that puts us closer to their perspective, further endearing us to these people. The music operates similarly, almost sounding filtered in some moments, again avoiding the coldness of cleanliness. Alongside these perfect imperfections, Hong also displays his signature camerawork, the tripod often creating a kind of still tranquility, opening space for a reflective viewing experience. Despite its differences from his other films, this is funnily enough a great introduction to the director’s oeuvre.
I think it’s a beautiful story about dreams and art, and how bourgeois political structures emerge as a system of relations between people. It feels very personal, yet also very reflective of the craft and industry. It almost feels like yet another turning point in an already storied and fruitful career. I’m sure Hong’s already working on his next project, and whatever it is I can’t wait to see it. Until then, By the Stream is now in select theaters, and I hope you find a way to see it! This is one of the most special movies to release this year.
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