Like You Know It All
Slant Rhyming.

Die Wahrheit ist, dass ich, bei aller Neugier auf viele von ihnen, eigentlich nur einen einzigen der in Cannes gezeigten neuen Filme auf der Stelle unbedingt sehen möchte. Den neuen Hong Sang-soo nämlich, mit dem sehr schönen Titel Like You Know It All. Und nach dem, was Daniel Kasman schreibt: erst recht.

Hong’s past work, up until Night and Day, tended to fold neatly in on itself.  Not so here.  Slant rhyming replaces the more diagrammatic plots of the past, and the Buñuelian surrealism of dreams, objects, and dangerous ellipses all fit so naturally into this film one might barely note the weirdness of it all.  Like You Know It All is as quicksilver as a modest, slow, deadpan and very wayward drama can be.  Every Hong film seems to point to the next, but this unexpected move towards something different, a new, more opaque sense of storytelling—and perhaps even an attempt at the mainstream—leaves one not knowing what to expect next.