‘What Does That Nature Say to You’ Review: Hong Sang-soo Is in Top Form With a Convivial Meet-the-Parents Occasion That Goes South Before Dessert

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In the realm of global cinema, there’s no figure as productive or thematically consistent as South Korean filmmaker Hong Sang-soo, who constantly offers fresh perspectives on recurring themes. With a staggering 33 feature films to his name, almost all made since 2000, it’s not surprising that not every work shines with flawless brilliance. However, when the pieces align just right, these films can offer a deeply fulfilling experience, revealing subtlety in simplicity, poetry in the ordinary, and profound meanings in apparently trivial conversations. One of Hong’s most intriguing recent creations is the film titled “What Does That Nature Say to You.

The everyday scenes of artists, unexpected encounters, casual dining, smoking breaks, and embarrassing drunken moments are recurring themes in Hong’s films, as depicted in this narrative about an unexpected introduction of a young poet to his girlfriend’s family, whom she had never disclosed before. Perhaps she anticipated the outcome. In addition to these elements, Hong’s work often features harshness and arrogance, leaving a bitter taste when considering the closed-off nature of wealth and society, and the folly of scorning privilege when trying to impress potential in-laws from affluent backgrounds.

One unique aspect of Hong’s films lies in their ability to make scripted dialogue appear as if it were completely impromptu, creating an illusion for viewers that they are overhearing real-time conversations. This authenticity is what makes the seemingly simple portrayal of a crossroads in a relationship so captivating.

The movie unfolds in eight chapters without titles, commencing with Donghwa (played by Ha Seongguk) escorting his girlfriend Junhee (Kang Soyi) to her family home. Their shared affection is laced with unease, suggesting Junhee’s reluctance to present him to her family and Donghwa’s shyness about proposing the introduction. However, when he exits the car for a cigarette break, he’s taken aback by the grandeur of her family residence, leading Junhee to believe it might be alright to show him a brief glimpse of the beautifully maintained garden.

Instead of hanging out as she expects, her father, Oryeong (Kwon Haehyo), spends time in the driveway tinkering. This tall, self-assured man, Junhee’s dad, quickly forms a bond with Donghwa but appears more captivated by his car than anything else. He admires the ’96 model as if it were an antique automobile and demands to go for a drive. Upon returning, he expresses what seems like genuine admiration, stating, “It even has a cassette deck!” Of course, he invites Donghwa to stay for dinner to meet Junhee’s mother, who won’t be home until later.

As Junhee heads upstairs for a chat with her sister Neunghee, who appears to enjoy nothing more than strumming tunes on a Korean gayageum, their father escorts Donghwa out to the garden to light up a cigarette. Meanwhile, Oryeong seems thrilled to discover that Donghwa is a poet, just like his wife Sunhee. In fact, he finds Donghwa’s mustache and goatee quite attractive, admitting that he himself has never been able to grow any facial hair.

Junhee’s father takes out a bottle of makgeolli from his storage in the garden shed and offers a tour of the grounds to Junhee’s boyfriend. Oryeong explains to the guest that he constructed this hillside house for his late mother, who passed away from cancer, and considers it as a tribute to her memory. “Love for one’s parents can shape a mountain,” remarks Donghwa, maybe seeking deeper meaning as Oryeong opens another bottle of makgeolli.

Without doubt, Oryeong, being used to people obeying his commands, instructs Junhee to accompany his sister and Donghwa for lunch, and also visit a nearby temple so he can finish some tasks before Sunhee arrives home. This outing turns out enjoyable, despite the hint of irritation that surfaces during Neunghee’s questioning of Donghwa about his refusal to accept financial aid from his attorney father, who is highly respected. She seems particularly interested in understanding why he drives an old car and implicitly labels him as a failure.

Neunghee and Oryeong each inquire about Donghwa’s feelings towards Junhee, asking “What do you admire about Junhee?” However, despite his self-proclaimed status as a poet, Donghwa only offers generic compliments instead of sharing any unique insights or profound thoughts.

Hong, along with his skilled cast members (with the exception of newcomer Kang), who are often part of the director’s informal acting ensemble, maintain an air of mystery about when Donghwa’s unease surfaces or when Junhee’s family quietly stop considering him as a potential spouse. It appears noteworthy that neither of her parents show signs of transitioning from formal to casual interactions with him.

If lunch served as a trial run, then the intricate chicken dinner becomes a decisive evaluation. They maintain cordiality and allow Donghwa to essentially disqualify himself as a prospective son-in-law, with Oryeong continuously offering him whiskey, along with makgeolli and red wine. It’s evident that an unfortunate outburst is imminent, though it’s temporarily postponed when they pause the meal for a walk to appreciate the sunset and show their guest the hillside.

In a somewhat awkward turn, Hong delves into humor that borders on cheesy as Donghwa discusses his philosophy of living minimally and avoiding dependence on others, all while expressing deep emotions about an ancient ginkgo tree at the temple. However, his poetic attempts begin to appear insubstantial. Sunhee struggles to hide her exasperation as she contemplates. When Neunghee prods Donghwa too many times about his reliance on his father’s wealth, the now heavily intoxicated Donghwa erupts in anger and immediately regrets it.

In a variety of directions, this tense familial situation could have unfolded as either slapstick humor or intense drama, but Hong gives it a unique, one-of-a-kind twist. There’s never any sense of forced or overdone moments. The witty and biting conversation between Oryeong and Sunhee after dinner, although sharply sarcastic, avoids being too comedic. Hong regular actor Kwon exhibits the depth of his character, yet his welcoming demeanor comes with a clear string attached. On the other hand, Cho skillfully portrays Sunhee as the one steering the family ship.

Typically, Hong assumes multiple roles such as cinematographer, composer, editor, sound designer, writer, producer, and director for his projects. Over time, he’s honed an efficient approach and a natural style that effectively portrays his characters navigating daily life. The frequent use of stationary, fixed-camera shots enables close examination, while occasional pans and zooms subtly redirect our focus. Hong’s choice of low-resolution video appears to mimic the hazy perspective of Donghwa when he’s not wearing his eyeglasses.

The morning’s farewell moment between Junhee and Donghwa is poignant, beautifully acted by both performers. Her worry for the wound on his arm, sustained while he was gazing at the moon and fell, is evident. However, when he embraces her tightly to bid adieu, she appears to startle slightly. The closing scene leaves room for interpretation, but the future of their relationship seems to be hinted at, although it’s likely that one or both of them are unaware of it yet.

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2025-02-22 05:55