La femme qui s'est enfuie

Summary

A film that, with astonishing naturalness, based on the successive reunions of a woman with three friends, reflects how many times we must reconstruct the other based only on what he tells us about himself, how many times we are just what we formulate and we reveal about ourselves through our discourse, how many times we are our story.

Review:

Taking advantage of a business trip from her husband, Gam-hee (Kim Min-hee) goes out to visit some friends whom she has not seen for a long time.

Apparently it sounds small: basically Hong San-soo's film (Silver Bear for Best Director at the 2020 Berlin Film Festival) is made up of Gam-hee's three conversations with her friends. The question is everything that is at stake there and in what way.

In the first place, the incredible feeling of naturalness and even lightness that these reunions convey, filmed in long still shots nuanced with some zooms and other resources. Who are those women? What is its history? What do they propose? What is the link between them? We will learn about some things, but never as a grandiose or transcendent revelation and always under the sign of cordiality and a generally relaxed atmosphere. Other issues will remain in an interesting and suggestive out of the field such as stories taken up in media res. But this narrative distension will only be interrupted by the brief appearances of men on the scene as disruptive elements: they will be the ones who bring the uncomfortable moments, contrasting with the consensus of cordiality of the women. One of these interventions will acquire truly anthological humorous overtones.

It is also necessary to point out the relevance that the scenarios take, thanks to the framing and the dialogues. The feeling of immediacy, of being there, in those houses, is really palpable.

The woman who escapes is a film that with astonishing naturalness (hand in hand with the remarkable performances) reflects how many times we must reconstruct the other based only on what he tells us about himself, how many times we are just what we formulate and reveal of us through our discourse, in a story that from time to time even leads us to question everything we hear.

I remember once generalising that any film that takes three hours to tell its story can't really be that good. Of course, such generalisations are rubbish; films are as good or as bad as they are whether they are ten minutes long or ten hours but there's something to be said for 'the miniature'. Little films can be beautifully polished gems and there are many small films of seventy-five minutes or so that you wish would go on forever.

Sang-soo Hong's "The Woman who Ran" is one such film. It's a conversation piece and there's a lot of small talk but it's so beautifully directed and acted you feel a sense of privilege just being with these people and these people are mostly female friends, or maybe just acquaintances, spending time together. When a man makes an early appearance, in a terrifically written and very funny single take sequence, he seems something of an intruder but Hong has so much fun with the scene he makes for a very welcome intruder. Mostly, however, it's just women talking about their lives, the men in their lives, their pasts and the pleasure or otherwise of eating meat and I wish it could have gone on for another hour or so.

This is a comfort movie. The older you get, the more sensible you become. It is funny looking back into the past when we meet the familiar faces. Friendships, aquaintances, love, marriage, divorce, separation, loneliness, happiness, sadness, betrayals, and all other things together patched up. Sometimes we do need the closure even if it doesnt bothers so much. Remember everything that we worry about now wont even be an issue few years down the line.

" Three states, whether divorced, unmarried or married, none is perfect for a woman, each has its own pitfalls and perks, that amounts to common knowledge. As for Gam-hee, what runs underneath her 'happy marriage' guise is some undertow inaccessible to viewers. Kim Min-hee can telegraph emotional shadings in a heartbeat, but cumulatively, she hardly step out of her comfort zone in Hong's conceptualization of an 'every woman' to his liking, all her characters are consistently cerebral, coy, sensitive and prone to keep one's own counsel."

read my full review on my blog: Cinema Omnivore, thanks.

Absurd dialogues, movie is shot like a school project, I feel like I wasted my time which will never get back.