Hong Sangsoo’s Wry and Sweet Ode to Art, Love, and Eel

“By the Stream,” the 32nd feature by Hong Sangsoo, opens as many of his previous works have, with a polite meeting between two people who are neither strangers nor as familiar as they once were. They exchange tentative pleasantries, before one observes, “You haven’t changed at all.” It’s a premature assertion. The ensuing narrative uncovers either how much has changed or how much has been forgotten between the two. Distinguished by its light autumnal chill and a russet palette, this subtle comedy of actors and academics loosely set aside dreams welcomes loyal fans of the director with a gentle, albeit hesitant, embrace.

Premiering in competition at the Locarno Film Festival, this is Hong’s second feature of 2024. Following the Berlinale prize-winning “A Traveler’s Needs” starring Isabelle Huppert, “By the Stream” is likely to be the lesser-seen of the two. Both films are narratively muted and oblique, sometimes testing the patience of even those accustomed to Hong’s style. However, “By the Stream” is more diffuse and elusive as a character study, likely too much so to win many new arthouse converts. Loyalists of Hong’s work will be delighted by its romantic nuances and the nimble performances by mainstays Kwon Haehyo and Kim Minhee, both portraying characters who seem to be in perpetual search of themselves.

Kwon portrays Sieon, a once well-regarded actor turned bookstore owner. In the opening scene, he makes the observation to his niece Jeonim, played by Kim, that she hasn’t changed. Jeonim, however, disagrees, claiming her life has taken “a sudden swerve.” Sieon’s past career decline is not clearly explained, just vague mentions of him criticizing others and being “attacked” in return. He carries the demeanor of someone accustomed to keeping his head down. Jeonim, now an art teacher at a women’s university in Seoul, has asked Sieon to write and direct her department’s submission for the university’s annual sketch play festival.

Feeling a pang of nostalgia for his theater days, Sieon agrees, though he’s slightly annoyed to learn that he’s the backup choice after the original director was dismissed for sleeping with cast members. While this plot detail could be seen as a mild critique of cancel culture, it also hints at a metatextual reference to the real-life tabloid scandal involving Hong and Kim, now his partner and production manager. Jeonim doesn’t have to worry about her uncle making the same mistakes. When she introduces him to her boss, Jeong, a long-time fan of Sieon, the mutual attraction is evident.

A number of boozy mealtime scenes follow, a hallmark of Hong’s storytelling. Jeong invites Sieon for lunch at her favorite eel restaurant, which leads to more lunch and dinner dates, with Jeonim often becoming an increasingly passive-aggressive third wheel. Hong navigates the dynamics of a dining table skillfully, using what characters eat and drink to reflect their relationships and emotions. In these scenes, the sketch play becomes a secondary concern, while Jeonim — preferring solitary activities like drawing by the stream and sleeping outside in the brisk fall weather — retreats further into herself.

This portrayal makes “By the Stream” appear plot-heavy, but Hong’s storytelling relies more on glances, pauses, and, in a new twist, phases of the moon. Emotional revelations occur unexpectedly, such as in a poignant scene where Sieon asks his young amateur actresses about their future aspirations. Their earnest responses range from wanting to “love truly” to protecting “the smallest lamp until I die.” This tender sentimentality is not typical for Hong, a director known for a certain template that, despite its consistency, allows for an expanding range of moods and emotions. Thus, while the cinema of Hong Sangsoo remains largely unchanged, it evolves in subtle and significant ways.

Once again, Hong’s work draws viewers into a world that’s at once familiar and ever-changing, inviting us to reflect on the constancy and fluidity of human relationships.

‘Electric Child’ Director Simon Jaquemet Talks AI, New Series and Adaptation of ‘The Lifecycle of Software Objects’ (EXCLUSIVE)