你自己和你的

《你自己和你的》是韩国作家/导演洪圣洙最新的一部黑色喜剧,将在美国上映(拍摄于2016年,同年晚些时候以及2017年上映),是一部令人筋疲力尽、最令人沮丧的情感选痂表演。鉴于《你和你的》是一部由洪秀柱执导的电影,这让人失望,但并不完全出乎意料,洪秀柱是一位多产且极具自我撕裂感的编剧/导演,2016年洪秀柱与妻子离婚未果后,其自我神话化的电影不知何故变得更加自我陶醉。这是一种徒劳无功的详细忏悔幻想,事后才有所贬低;我们对它的主题,即洪,以及他与女演员金敏熙(Minhee Kim)的绯闻了解得越多,他在《你自己和你的》中的缺席令人目瞪口呆。

“Yourself and Yours” now feels like an unsteady bridge between Hong’s pre- and post-2016 work since it’s a characteristically disjointed series of vignettes about a drunken artist (Joohyuck Kim) who’s obsessively worried about his partner (Yooyoung Lee) and what may or may not be her ulterior motives. Watching “Yourself and Yours” in 2020, after five of Hong’s six succeeding films have been released in America, is a bit like revisiting the scene of a crime years after it’s been thoroughly picked over: there’s some evocative stuff here, but even Hong’s worst recent films are more gratifying than this.

在《你自己和你的》中,沮丧的画家杨洙(Kim)关注的是他孤僻的女朋友明贞(Lee)和她的酗酒。有点;有点。杨洙并不知道明戎是否在背后酗酒,尽管他的几个朋友对他说了同样多的话。他们中的一些人,包括Jaeyoung Park(Haehyo Kwon),试图与明洙对质,但她总是躲避原告,可能是因为英洙和他的朋友对质的女人说她是明洙的双胞胎妹妹。我是说,谁知道,也许明戎真的有双胞胎妹妹?这只是杨洙和他八卦的伙伴们在喝酒时闲聊的几个毫无结果的问题和声明中的第一个,然后在敏戎公寓外跟踪敏戎,接着在附近的咖啡馆喝更多的酒,然后再做一些关于敏戎的妹妹(或者可能是敏戎?)的白日梦当她不在他身边的时候。

香港奠定进Youngsoo与幽默的相同讽刺意味和刺浪漫主义,这使得他的关键宠儿神经官能症。But several scenes in “Yourself and Yours” only seem to exist to show us the various fruitless convolutions of Youngsoo’s paranoiac fantasies, all of which involve Minjung (or a Minjung-like woman) meeting and rejecting her insistent, but superficially shy would-be suitors’ attempts at “[understanding] her completely.” So some scenes back up Youngsoo’s theory that “It's all fake! All shitting and eating! True love! Only true love is worth anything. The rest is all formality, all crap!” Others scenes confirm Hong’s fascination with his characters’ stream-of-conscious emotional process: "Everything in life is necessary! Nothing is useless." But while several of Hong’s supporting characters’ points-of-view are considered, most of them are obviously extensions of Hong’s bruised ego, like the young barflies who speculate that Minjung isn’t “pitiful” since she “sees a new man every night,” while another says "It's Youngsoo who's pitiful. Our great Youngsoo, reduced to this.”斯特林堡(或者阿尔伯特·布鲁克斯),这家伙不是。

Youngsoo and Jaeyoung’s dismal late-night tail-chasing sessions are only funny if you really like the one joke that Hong vigorously runs into the ground: these guys can’t escape themselves, so every potentially romantic encounter becomes a new stage for their overwhelming anxieties. Even the funniest expressions of that theme—a park-side meeting where Minjung conclusively dismisses Jaeyoung by saying: “I don't feel anything for you. Can't be helped. Anyway, don't call me anymore.”—are easy to shrug off. Likewise, Hong’s subtly disorienting transition between sketch-like scenes is only sometimes effectively disorienting: Hong’s signature use of long takes and his attendant fascination with pregnant pauses (and his actors’ awkward body language) only adds unnecessary extra steps for moviegoers who have already gotten his joke, and are now waiting for him to go somewhere with it.

Youngsoo的淤滞可能是一个理论上奖励点睛之笔香港的酸性黑色喜剧,但只有这么多从看难看,不知道人物淹没在他们的痛苦,同时懒洋洋地抓住对方获得的。首先,他说,“我是真的爱你。别的都无所谓。”然后她说:“辛苦是不是你”,似乎意味着它,但只是因为她显然她的创造者的自我方面的投影。“不要哭,”他说:“我明白了。”当谈到这个繁琐的那种自虐卡萨维茨角色扮演您的里程可能会有所不同,但这并不令香港的最新美国发行更多的照明,或更少的惩罚。

可用虚拟戏剧性发行的今天,6/5。

西蒙·艾布拉姆斯

西蒙·艾布拉姆斯(Simon Abrams)是纽约本地人和自由电影评论家,他的作品曾被《绅士》、《乡村之声》(the Village Voice)和其他一些杂志刊登过。

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