Shot in solemn black-and-white, Hong’s elegiac, non-linear reflection on infidelity, regret and emotional burden sees a condemned man trying to move on from his extramarital affair.

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A contemplative exploration of neediness and the transient nature of human connection, Hong’s drama about creative paralysis sees a film director having a fling with his friend’s girlfriend, sparking psychological clarity. 

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A married Korean man finds himself staying in Paris in Hong’s thought-provoking and layered work about the inherent affinities and contradictions of living a present life to one’s desire, as he gets caught up in an incompatible romance with a younger woman.    

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A filmmaking student doesn’t know herself except through the eyes of three men who have had an on-off intimate relationship with her, as Hong gives us a sly film bounded by the circularities and repetitions of plotting and dialogue. 

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Hong’s finest film in a while tackles work, life, art, love, past and future with effortless ease, as an art lecturer asks his famous but blacklisted uncle to help her students mount a skit.

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Hong’s trademark stylistic minimalism and meditation on the meaning of art and life remain intact if nondescript, featuring two seemingly unrelated stories connected by a shared fondness for eating ramyeon with pepper paste.

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Huppert returns in front of Hong’s camera for the third time in this largely breezy drama about ‘learning’, ‘feeling’ and ‘sipping’ as a French woman uses an unorthodox method to teach French to several Koreans in their encounters with music or poetry.

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Intentionally shot out of focus, Hong’s impressionistic and ‘painterly’ new work about an actor-turned-director in search of an idea to shoot a short film doesn’t always work, but its meta-filmic final act is sublime.

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Some may feel Hong’s doing something different here—it’s more self-introspective and structurally liminal, but also slower and more meandering than usual as a film director brings his daughter to visit an old friend who might offer her career advice.

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A more melancholic piece than some of Hong’s breezier offerings as he explores fictive ideals and sad realities through the idea of cinema as a mirror image. 

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