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South Korean film director (born 1960) From Wikipedia, the free encyclopedia
Hong Sang-soo (Korean: 홍상수; born 25 October 1960) is a South Korean film director and screenwriter. An acclaimed and prolific filmmaker, Hong is known for his slow-paced films about love affairs and everyday dilemmas in contemporary South Korea.
Hong Sang-soo | |
|---|---|
Hong at the 72nd Berlin International Film Festival, 2022 | |
| Born | 25 October 1960 Seoul, South Korea |
| Occupations |
|
| Years active | 1996–present |
| Spouse |
Unnamed
(m. 1985, separated) |
| Partner | Kim Min-hee (2015–present)[3] |
| Children | 1 |
| Korean name | |
| Hangul | 홍상수 |
| Hanja | |
| Revised Romanization | Hong Sang-su |
| McCune–Reischauer | Hong Sangsu |
| IPA | [ɸʷo̞ŋ sʰa̠ŋ.sʰu] |
Hong's parents owned the film production company Cinetel Soul.[5] Hong took the entrance exam and entered the theater department at Chung-Ang University. He then studied in the United States, where he received his bachelor's degree from the California College of Arts and Crafts and his master's at the School of the Art Institute of Chicago.[6][7][8]
Hong made his directorial debut in 1996 with The Day a Pig Fell into the Well. Woman is the Future of Man (2004) was his first film to screen in the main competition at the Cannes Film Festival.[5]
Hong's films have also screened in the main competition of the Berlin International Film Festival, the Venice Film Festival, and the Locarno Film Festival.[9] They are also regularly screened in non-competitive festivals, such as the New York Film Festival and the Toronto International Film Festival.
Hong received the Prix Un Certain Regard at the 2010 Cannes Film Festival for Hahaha. In 2013, he won the Silver Leopard Award for Best Director for Our Sunhi, and, in 2015, the Golden Leopard for Right Now, Wrong Then, both at the Locarno Film Festival. Most recently, his 2020 film The Woman Who Ran won the Silver Bear for Best Director at the 70th Berlin International Film Festival,[10] Introduction won the Silver Bear for Best Screenplay,[11] and The Novelist's Film (2022) won the Silver Bear Grand Jury Prize at the 72nd Berlin International Film Festival.[12]
In June 2018, Hong was invited to become a member of the Academy of Motion Picture Arts and Sciences.[13]
Hong's films often treat themes of domestic realism, with many of the scenes set on residential streets, cafes, hotels, schools, and in the stairwells of apartment buildings.[5] Characters in the film are seen walking around the city, drinking soju, and having sex. The main characters are often movie directors or actors, and scenes typically consist of a single shot, often beginning and ending with a camera zoom. The budgets for his movies average about $100,000.[9]
Hong is often spontaneous when shooting, delivering the day's scene on the morning of the shoot and changing the story on set.[5] He rarely prepares scripts in advance. Hong instead begins with a basic guideline and writes his scenes on the morning of the filming day, making changes throughout the day.[9] He starts the filming day at 4 a.m. when he begins to write the dialogue for that day's shoot.[7] Hong also develops close relationships with the actors over alcohol and cigarettes and sometimes shoots scenes while the actors are intoxicated.[14]
Hong's style has been compared to Eric Rohmer's, with some arguing that some of his films deliberately allude to Rohmer's.[15]
In 2016, Hong was reported to be having an extramarital affair with actress Kim Min-hee, who appeared in his 2015 film Right Now, Wrong Then.[16] Hong admitted to the affair in March 2017, at the Seoul premiere of On the Beach at Night Alone. He filed for divorce from his wife in December 2016, but the court rejected his request in June 2019, insisting that only the injured party, Hong's wife, could initiate a legal separation.[17][18]
| Year | English Title | Original Title | Credited as | Notes | |||||
|---|---|---|---|---|---|---|---|---|---|
| Director | Writer | Producer | Composer | Editor | Cinematographer | ||||
| 1996 | The Day a Pig Fell into the Well | 돼지가 우물에 빠진 날 | Yes | Yes | No | No | No | No | |
| 1998 | The Power of Kangwon Province | 강원도의 힘 | Yes | Yes | No | No | No | No | |
| 2000 | Virgin Stripped Bare by Her Bachelors | 오! 수정 | Yes | Yes | No | No | No | No | |
| 2002 | On the Occasion of Remembering the Turning Gate | 생활의 발견 | Yes | Yes | No | No | No | No | |
| 2004 | Woman Is the Future of Man | 여자는 남자의 미래다 | Yes | Yes | No | No | No | No | |
| 2005 | Tale of Cinema | 극장전 | Yes | Yes | Yes | No | No | No | |
| 2006 | Woman on the Beach | 해변의 여인 | Yes | Yes | No | No | No | No | |
| 2008 | Night and Day | 밤과 낮 | Yes | Yes | No | No | No | No | |
| 2009 | Like You Know It All | 잘 알지도 못하면서 | Yes | Yes | No | No | No | No | |
| 2010 | Hahaha | 하하하 | Yes | Yes | No | No | No | No | |
| Oki's Movie | 옥희의 영화 | Yes | Yes | No | No | No | No | ||
| 2011 | The Day He Arrives | 북촌 방향 | Yes | Yes | Yes | No | No | No | |
| 2012 | In Another Country | 다른 나라에서 | Yes | Yes | Yes | No | No | No | |
| 2013 | Nobody's Daughter Haewon | 누구의 딸도 아닌 해원 | Yes | Yes | Yes | No | No | No | |
| Our Sunhi | 우리 선희 | Yes | Yes | Yes | No | No | No | ||
| 2014 | Hill of Freedom | 자유의 언덕 | Yes | Yes | Yes | No | No | No | |
| 2015 | Right Now, Wrong Then | 지금은 맞고 그때는 틀리다 | Yes | Yes | No | No | No | No | |
| 2016 | Yourself and Yours | 당신자신과 당신의] | Yes | Yes | Yes | No | No | No | |
| 2017 | On the Beach at Night Alone | 밤의 해변에서 혼자 | Yes | Yes | Yes | No | No | No | |
| Claire's Camera | La caméra de Claire | Yes | Yes | Yes | No | No | No | ||
| The Day After | 그 후 | Yes | Yes | Yes | Yes | No | No | ||
| 2018 | Grass | 풀잎들 | Yes | Yes | Yes | No | No | No | World premiere at the 68th Berlin International Film Festival |
| Hotel by the River | 강변 호텔 | Yes | Yes | Yes | No | No | No | World premiere at the 2018 Locarno Film Festival | |
| 2020 | The Woman Who Ran | 도망친 여자 | Yes | Yes | Yes | Yes | Yes | No | World premiere at the 2020 Berlin International Film Festival |
| 2021 | Introduction | 인트로덕션 | Yes | Yes | Yes | Yes | Yes | Yes | World premiere at the 2021 Berlin International Film Festival |
| In Front of Your Face | 당신 얼굴 앞에서 | Yes | Yes | Yes | Yes | Yes | Yes | World premiere at the 2021 Cannes Film Festival | |
| 2022 | The Novelist's Film | 소설가의 영화 | Yes | Yes | Yes | Yes | Yes | Yes | World premiere at the 2022 Berlin International Film Festival |
| Walk Up | 탑 | Yes | Yes | Yes | Yes | Yes | Yes | World premiere at the 2022 Toronto International Film Festival | |
| 2023 | In Water | 물안에서 | Yes | Yes | Yes | Yes | Yes | Yes | World premiere at the 2023 Berlin International Film Festival |
| In Our Day | 우리의 하루 | Yes | Yes | Yes | Yes | Yes | Yes | World premiere at the 2023 Cannes Film Festival[19] | |
| 2024 | A Traveler's Needs | 여행자의 필요 | Yes | Yes | Yes | Yes | Yes | Yes | World premiere at the 74th Berlin International Film Festival |
| By the Stream | 수유천 | Yes | Yes | Yes | Yes | Yes | Yes | World premiere at the 77th Locarno Film Festival[20] | |
| Year | English Title | Credited as | ||||
|---|---|---|---|---|---|---|
| Director | Writer | Producer | Cinematographer | Editor | ||
| 2009 | Lost in the Mountains (Jeonju Digital Project: Visitors) | Yes | Yes | No | No | No |
| 2011 | List | Yes | Yes | No | No | No |
| 2013 | 50:50 (Venice 70: Future Reloaded) | Yes | Yes | No | No | No |
| 2021 | Hong Sangsoo — Winner of the Silver Bear for Best Screenplay | Yes | Yes | Yes | Yes | Yes |
| Letter to the New York Film Festival | Yes | Yes | Yes | Yes | Yes | |
| 2022 | Small Flower | Yes | Yes | Yes | Yes | Yes |
| 2023 | Another Letter to New York Film Festival | Yes | Yes | Yes | Yes | Yes |
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