Kim Haery

Senior Editor at CINE21, Critic
South Korea

Voted for

A Man Escaped1956Robert Bresson
Yi Yi1999Edward Yang
Artificial Intelligence A.I.2001Steven Spielberg
Les Enfants du paradis1945Marcel Carné
Playtime1967Jacques Tati
Right Now, Wrong Then2015Hong Sangsoo
Uncle Boonmee Who Can Recall His Past Lives2010Apichatpong Weerasethakul
The Assassin2015Hou Hsiao-Hsien
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles1975Chantal Akerman
First Cow2019Kelly Reichardt


A Man Escaped

1956 France

A sublime example of economic filmmaking.

Yi Yi

1999 Taiwan, Japan

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.

2001 USA

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

1945 France

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.


1967 France

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

2015 Korea, Republic of

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

2010 Thailand, United Kingdom, France, Germany, Spain, Netherlands

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

2015 Taiwan, Hong Kong, People's Republic of China

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

1975 Belgium, France

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

2019 USA

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.