A modest man covers his virtues with the transparent veil of modesty, the hypocrite once more burdens his faults with the masks of pretense, how do you want to understand a person at a glance, without effort, without effort, without toil?
Against the background of the hard-to-read daily life of Seoul, two parallel conversations guide the narrative of the film “Into the Day” by the great South Korean director Hong Sang-soo. On the one hand, a popular ex-actress guest at her friend’s house, and a new girl, who wants to get advice on the career she intends to pursue, while on the other, an important poet, not in his prime, he tries not to discuss the essential and the important with a fan of his in the presence of a young documentarian. The two accomplished artists in every way avoid existential questions, essential explorations and thoughtful analyzes of the great and great things, interspersing between the conversations, food, alcohol, a little guitar, a few redeeming naps, plenty of inexpensive games with the cat and enough rock, scissors, paper so that no one wins and everyone loses their time.
But no matter how much the two celebrities try to avoid the essence of things with various tricks, in the end they can’t help but find themselves face to face with what really interests them, what actually concerns them and what really keeps them alive . Themes of self-awareness, existential angst and the search for meaning permeate the narrative, inviting viewers to reflect on the meaning of each passing day. The actress considers giving up her career, while the poet struggles with alcohol and tobacco addiction.
In haiku, an attempt is made to capture the fluidity and temporality of the moment, in order to preserve it unchanged in eternity. But because words are not enough to describe the totality of a momentary experience, the haiku poet mentally describes an idea, leaving the reader’s imagination to fill it in as he sees fit.
With the sharp immediacy of a haiku, “Inside the Day” invites us to look at what is most important in life and what makes each day interesting, juicy, real. Hong masterfully weaves a story that explores the complexities of life, art, and the inner turmoil that plagues us all. Through these characters in his story, the director examines the facade we often present to the world, as well as the underlying insecurities and oppressions that gnaw at our souls.
The conversations between the actress and the amateur, as well as the poet and his admirer, serve as a platform for Hong Sang-su to explore existential questions and the human condition. Despite attempts to avoid these weighty issues through trivial distractions, the characters are eventually confronted with the truths they have been avoiding.
Portrayed with nuance and depth, the actress and the amateur navigate their own insecurities and desires as they interact with each other. Through their exchanges, the creator exposes the fragility of human relationships and the masks we wear to protect ourselves from the harsh reality of life. Similarly, the poet and his admirer are ultimately essentially conversing. As they discuss art, poetry and the passage of time, Hong delves into themes of nostalgia, sadness and the fleeting nature of life. The juxtaposition of young and old serves as a reminder of the cyclical nature of existence and the inevitability of change.
Throughout “Into the Day” Hong Sang-soo’s spare and subtle narration creates a sense of familiarity that draws us into the lives of the characters. The film’s contemplative pace allows for moments of introspection, inviting viewers to reflect on their own experiences and relationships.
Hong Sang-soo, who is often called the “Woody Allen of Korea” or likened to the great Eric Rohmer, embodies a distinct aspect of Korean cinema characterized by his subtle yet deeply introspective narratives. His films eschew grandeur in favor of subtle explorations of human nature, often centering on ordinary characters struggling with the complexities of existence. Central to Hong Sang-su’s aesthetic is his anthropocentric approach, which prioritizes the inner lives and interpersonal dynamics of his characters. His films are like cinematic haiku, where every gesture and word carries weight, implying much more than is explicitly stated.
As in all of his films, Hong Sang-soo deftly balances levity with astute psychological observation, peppering his narratives with moments of humor and warmth between moments of existential contemplation. What makes Hong Sang-su’s work whole is his mastery of minimalist storytelling, where seemingly everyday interactions reveal profound truths regarding life, love and identity.
There is nothing more exhausting, wilder and more infuriating than being honest everywhere and always. It’s no coincidence that we all have a mask on demand, for the moment something goes wrong, something slips away, for the moment we lose control. We all have a mask for when we risk being naked in public. Our world is a world of shameless disguises.
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