Art Press - - CINÉMA -

Two ab­so­lute or re­la­tive no­vel­ties can, even so, be no­ted in On the Beach at Night Alone. One is the Ger­man lo­ca­tion of the first part. We fol­lowYoun­ghee, an ac­tor who has no doubt come to present a film, but whose life al­so seems to have rea­ched a state of al­most to­tal emp­ti­ness. We soon dis­co­ver that she is strug­gling to get over the end of a re­la­tion­ship with a mar­ried man, a film­ma­ker, a re­la­tion­ship ter­mi­na­ted by the out­break of scan­dal. (Any re­sem­blance to the af­fair bet­ween Hong and the ac­tor Kim Min­hee can hard­ly be for­tui­tous, es­pe­cial­ly in a ci­ne­ma where the rhymes try to convince us that they oc­cur by pure chance.) It is cu­rious to see how at home Hong seems far from Ko­rea, able to trans­form a park in­to a place of prayer, for example, by means of

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