Digital file projection, rewatched. First film in wich Sangsoo sublimates his universe, formally debugging and synthesizing its fiction that is, simultaneously, subject of a rigorous formulation and of a bitter playful rambling. It may be said that perhaps this is the filmmaker's most admirable film from the image point of view, which is not the determining factor for liking his work.
I'm a big fan of his work. I didn't like the soundtrack, but that's a minor quibble. It actually did what it was supposed to do, which is to reinforce the repetitious nature of the work. I say that in a good way. Looking at something from different angles, messing about with chronology. Right from the start you know you'll have to piece it together in your mind. Watching it twice definitely helps.
Two hours of nightmare (at least for me). This woman was treated like a junk by men around her and she just…accepted it! It was like watching someone got raped and I kept waiting for that ‘epiphany moment’ for her, but b*tch it never came!
After watching this I now know two important things: a) I never want to have sex, and b) Being a girl sucks. The title suggests a Japanese exploitation movie, but this is anything but. Characteristic of Hong Sang-soo, Virgin Stripped Bare by Her Bachelors is misanthropic, deadpan, sometimes funny, but mostly depressing; think of it as a Seinfeld episode without the jokes filmed in a wintry black and white.
Hong Sangsoo plays with perception and ideas of truth in this drama about a young woman and her suitors played out from different angles and different points of view. Hong explores the story from varying perceptions, calling into question their validity as the characters themselves try to find love despite their own shortcomings. Brilliantly structured and rewarding.
It's not so much about who's side is accurate, but about two possibilities. (hence the reference in the title to Duchamp's glass) One represents chance meetings and is about fate, which is how Jae-hoon sees reality. While the other is about intention (hence the titles perhaps coincidence and perhaps intention) and is how Soo-Jung looks at reality.
This was an absolute chore to sit through, to be quite honest. Pretty interesting concept, though: told between two points of view; differing accounts of a very convoluted relationship. It's too bad there is almost nothing going on in the course of the film that pushes the viewer to care about who remembers what and what re-telling is more accurate.