Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (2015) Reviews

• Heartfelt experiment.

  Sergeant_Tibbs2015-10-27

  Right Now, Wrong Then is a film of two distinct halves. In 2 days of the life of a filmmaker, Ham Cheon-soo, in town a day early for a screening of his latest work at a local film festival. He meets a younger woman, Yoon Hee-Jeong, and immediately falls for her. She's an artist, and he views and comments on her work, then they go out to dinner where they drunkenly bear their souls. It results in an invitation to a friend's small party where a revelation embarrasses Ham to the point where they part ways on a sour note. He attends his film to a small crowd, conducts a hungover Q&A, and retires, walking away from the town for good. Roll title card "Right Now" rather than "Right Then." The film literally repeats from the beginning, erasing the first half. Like Groundhog Day but only a once-over, we get every scene again but from a slightly different wishful approach. This second time the couple are honest, unlike the first time where Ham tries too hard to impress and Yoon retreats. Again, they fall in love, but given Ham admits to already being married, their feelings are mutual and emotional without being sexual. He may embarrass himself once more at the aforementioned dinner, but it does not result in a cruel parting, instead drawing them closer. It's a quaint experiment given the relaxed tone. The first half on its own is not a movie, and neither is the second. They're co-dependent to give the narrative meaning, but it's far from cinematic in tone. It's a filmmaker's revisionism of what could have been a perfect evening had the characters acted suitably. It's honest, rather than romantic – though the chemistry still bubbles in the air – and it's utterly bittersweet, in a similar vein to Before Sunrise, but strictly not Before Sunset. It's my first film from Korean director Hong Sang-soo and ostensibly from his fans and critics, Right Now Wrong Then is firmly his style – including the Woody Allen-esque romance between an older creative similar to the director himself, and a pretty younger woman. The atmosphere is very modest with simple photography, though Sang-soo does punctuate some scenes with careful zooms. It's very easy-going filmmaking, and its concept makes the second half easier to watch because you know exactly where it's heading as it retraces steps while you have a sharp eye out for the subtle changes that make all the differences, but it doesn't beg you to keep an eye on every detail. Those differences aren't grandstanding though the narrative is clearly motivated by them. Sometimes a scene will repeat its approach entirely despite the previous scene being radically revised. It's trying to be very nuanced rather than having a 'sliding doors/butterfly effect' where causality makes the universe shift places. Instead, the outcome isn't much different but the overall feeling is utterly converted. It's all down to the performances of its two leads, Jeong Jae-Yeong and Kim Min-Hee, to create that tone with their chemistry, who were most likely shooting both halves back to back, location by location. In both halves, Ham is still a jerk with a kind of irritating laugh, but all the characters are deeply human even if Sang-soo doesn't peel back their layers every time. There's a big heart buried in its very slight execution. However, Right Now Wrong Then is not necessarily about how honesty is a better policy – though Ham's harsh analysis of Hee-Jeong's art in the second half remains a sting that takes a long time to settle – but it's about how it's possible to love again. In this case, love doesn't have to be a complete turbulous affair, but it can still be a fulfilling and life-affirming night if approached accordingly. 8/10

• A moral tale

  gelobter2015-09-26

  This film won the Golden Leopard (Best Film award) at the 2015 Locarno Film Festival. By mistake, a film director arrives in a town a day early to attend a screening of one of his films. With time to kill, he strikes up a conversation with an aspiring painter who he meets in a temple and they spend the rest of the day together. Although he finds her attractive, she is considerably younger than him and neither of them are particularly outgoing. A bit like Sliding Doors or Kieslowski's Blind Chance, the film splits into two different versions of what happens over the next 24 hours but, unlike those two films, the outcome depends not so much on chance but on how the main character chooses to behave. Any further info would inevitably contain spoilers so let's just say that it reminded me of some of Erich Roemer's films and is a sort of moral tale. Whether or not you will like Right Now, Wrong Then will probably depend on what you think of the dialogue, which pretty much dominates (there is not much action and little in the way of visuals or soundtrack). In my view, it is almost a really good film but the script needed sharpening up, as my attention started wandering off more than once. Perhaps a bit more humour and a slightly faster pace would have helped, However, it is a thought-provoking film and I found it ultimately satisfying when it ended, which is why I give it 7/10.

• Hong Sang-soo's love affair

  KineticSeoul2016-09-30

  This film shows how it would be like to have a do over when it comes to our romantic interest. You know those times when you met someone you have that moment with and ask yourself what it would have been like if you did things differently. Because you missed out on the chance, because you couldn't be more honest with yourself or be more bold with the situation. That is what this film is, it's basically the fantasy of Hong Sang-soo in my opinion. It's like he wrote this whole script for the actress in his film played by Kim Min-hee. The plot is about a introverted and married director falling for a female artist and thus somewhat realistic but mundane conversations ensues. You know the conversations that ensues between introverts at a bar. Actually you can walk into just about any restaurant in Korea with alcohol at night and you can hear similar conversations as this one. The director Hong Sang-soo actually had an affair with the actress in this film. Like the actual plot itself, he is a married man as well. Despite the director showcasing this as an artistic indie film I just couldn't see much artistic merits with this one. It was like watching introverted people having mundane conversations with one another. I am a introvert but even I couldn't find anything interesting about the conversation between the two. Like I said watching this was like watching a fantasy movie for the director Hong Sang-soo. 5/10

• Hong Sang-soo is testing me...

  arkid772015-10-08

  I've been a fan of Sang-soo for some years yet his frustrating insistence to continually repeat himself is now annoying me. Sure you can guarantee failed romance and time wasted drunk in korean bars in Sang-soo films and I'm fine with that in theory. The problem I have is that everything else once you've seen a few just seems so repetitive as well... Ie the kinds of creative characters he chooses to portray, the form of the films, the dynamics between characters, the voice over narration, I could go on and on. In totality, they are just far far too repetitive for me. I was absolutely fine with all this until this film. For me this film was like the product of a once great now semi-senile 90 year old director just repeating himself after a golden age of great films decades before. He really is starting to make the decrepit Woody Allen look original! I'll probably watch the next Sang-soo film that comes out as well but with a lot more caution not expecting much.

• Time travelling

  simonize8502017-07-27

  Too bad that reading the back cover of the Grasshopper blu ray reveals as much of the plot as it does. Thankfully the rewards of this film stem from the execution: whereas the two principles in the first rendering seem flawed, and the director cruel and manipulative, and the girl sad and naïve, the second take shows the two in a much better light. When the director embarrasses his hosts, the outcome is much different, as is the aftermath of the lecture the director has come to deliver. Having seen so many action jammed films from Korea - which are so chauvinistic - it is interesting to see Koreans portrayed as quiet, conservative and relentlessly polite in observing the ceremonies of their society. Sounds like we Canadians! Suwon does exist, and there is a lot to do there as a tourist. The film is recommended for those who relish Asian film; I hope that your local library carries this film, too. Simon in Victoria, BC