Kim Haery
Senior Editor at CINE21, Critic
South Korea
Voted for
| Film | Year | Director |
|---|---|---|
| A Man Escaped | 1956 | Robert Bresson |
| Yi Yi | 1999 | Edward Yang |
| Artificial Intelligence A.I. | 2001 | Steven Spielberg |
| Les Enfants du paradis | 1945 | Marcel Carné |
| Playtime | 1967 | Jacques Tati |
| Right Now, Wrong Then | 2015 | Hong Sangsoo |
| Uncle Boonmee Who Can Recall His Past Lives | 2010 | Apichatpong Weerasethakul |
| The Assassin | 2015 | Hou Hsiao-Hsien |
| Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles | 1975 | Chantal Akerman |
| First Cow | 2019 | Kelly Reichardt |
Comments
A Man Escaped
A sublime example of economic filmmaking.
Yi Yi
The irreplaceable director's swan song at his peak. This is the kind of film that assures cinema is one of the necessities of life.
Artificial Intelligence A.I.
This film proved how poetic Spielberg's filmmaking could be and totally changed the way I view his films made before and after.
Les Enfants du paradis
I might have loved it all the same, had it been a novel. Still, this overwhelming human comedy stays as the very image of melancholy to me.
Playtime
Tati's field of vision never stops being magical. It looks all about straight lines and transparency that define urban spaces but grows into a depiction of how modern architecture determines or interrupts human behaviors.
Right Now, Wrong Then
HSS is one of the rare cineastes alive who create the rules of the game. RNWT can be one great introduction to his general methodology as well as a marvellous accomplishment itself.
Uncle Boonmee Who Can Recall His Past Lives
The film requires a peculiar state of mind we didn't even know existed and eventually evokes it. The least violent surrealism I've known. Blissful.
The Assassin
What makes the protagonist invincible in this HHH's martial art poem lies in the art of hiding. The last long shot of THE ASSASSIN allows us to see for the first time in the film how Yinniang moves to the place where she becomes invisible, which provokes smiles and tears at the same time. Sometimes you can bleed inside without knowing being stabbed by a film.
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
It forced me to rethink framing, acting, and the strains behind socially naturalized female labor. Considering the volume of history it tells us, three-and-a-half-hour is not that long.
First Cow
How should cinema represent history? What is the role of genres in the process? FIRST COW seems to be the most recent original answer to those enduring questions.