Nowhere to Lay My Eyes Nun Dul Dega Eomne Showcase
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About
Canadian Premiere
VIFF mainstay Hong Sang-soo returns with a teasingly ambiguous family drama. Sang-hee (Kim Min-hee) is visiting Jeju Island as a guest her mother (Choi Myung-gil), with her brother (Shin Seok-ho) in tow. Sang-hee and her mother have been estranged for years, and this trip is an attempt at reconciliation; as for mom’s new husband (Kwon Hae-hyo) and his daughter (Park Mi-so), they’re thus far strangers to Sang-hee. Over the course of three days, there will be conversations both halting and revelatory as Sang-hee attempts to bond with a family she barely knows.
Nowhere to Lay My Eyes is Hong’s 35th film in a three-decade career, and as that fact would indicate, he’s become a very refined artist. Here, as always, his visual style is simple and unadorned — all the better to throw the strangeness of human interaction into relief. His gift for portraying revelation is as strong as ever: in the classic Hong manner, Sang-hee’s shifts from shyness to monologuing are both profound and amusingly awkward.
VIFF mainstay Hong Sang-soo returns with a teasingly ambiguous family drama. Sang-hee (Kim Min-hee) is visiting Jeju Island as a guest her mother (Choi Myung-gil), with her brother (Shin Seok-ho) in tow. Sang-hee and her mother have been estranged for years, and this trip is an attempt at reconciliation; as for mom’s new husband (Kwon Hae-hyo) and his daughter (Park Mi-so), they’re thus far strangers to Sang-hee. Over the course of three days, there will be conversations both halting and revelatory as Sang-hee attempts to bond with a family she barely knows.
Nowhere to Lay My Eyes is Hong’s 35th film in a three-decade career, and as that fact would indicate, he’s become a very refined artist. Here, as always, his visual style is simple and unadorned — all the better to throw the strangeness of human interaction into relief. His gift for portraying revelation is as strong as ever: in the classic Hong manner, Sang-hee’s shifts from shyness to monologuing are both profound and amusingly awkward.
