The first thing viewers will notice about director Hong Sang-soo’s latest film In Water is the blur. Nearly every shot is out of focus in this short-but-sweet tale about an aspiring film director, which creates a unique visual experience that is sure to be remembered. Seoung-mo (Shin Seok-ho) is a young director desperate to make a film. Along with his two friends, Nam-hee (Kim Seung-yun) and Sang-guk (Ha Seong-guk), he has ventured to Korea’s Jeju Island, where he intends to make his movie. The only catch is that Seoung-mo has absolutely no idea what his movie is going to be about.
Hong’s films are known for their intimate portraiture of everyday people, and his characters often share his filmmaking profession. In Water, then, feels strangely reflective of Hong’s own way of working with actors. Just like Seoung-mo, Hong rarely has a fully formed script before starting to shoot, choosing instead to write the story as he goes along. This off-the-cuff behavior is what makes In Water so compelling, since you aren’t sure if Seoung-mo is ever going to get his camera rolling. This tension is the driving force in a film that spends most of its time lingering on the in-between moments—lunch breaks, travel to and from destinations, and brief stops to look out at the ocean—and it might not entertain the most casual of viewers. But if you take a moment to wade deeper into Hong’s world, you’ll find that In Water has more to offer than just its uniqueness.
The heart of the story is about writer’s block—that classic cerebral malady that has afflicted all artists at one time or another. Seoung-mo is finally taking a chance to realize his dreams, and he’s living off his savings in order to do so. But when faced with the freedom to at last embrace his art, he has absolutely no idea what to do. Instead, he makes Nam-hee and Sang-guk follow him all over the island as he waits for inspiration to strike. In the meantime, the trio spend their time eating food and talking at length about their lives and their dreams. Often, the three friends are seen standing against breathtaking natural backdrops that, when presented out of focus, take on the illusion of Impressionist paintings or any of Gerhard Richter’s blurry, photorealistic works. Instead of the rich facial details we are used to seeing on screen, we are forced to engage with the vibrant colors and natural landmarks in order to connect with the characters. And while the blurriness might be frustrating for some, it only enhances the film’s message by forcing its actors to lose their identifying traits, instead becoming representations of the artistic struggle as a whole.
When Seoung-mo finally does begin filming—because he does eventually get there—his story captures a tender-hearted encounter meant to highlight the artistic hubris behind Seoung-mo’s own aspirations. Early on, he tells his friends that the only reason he wants to make a movie is because he wants honor. This is more important to him than money, showing that his desires are rooted in a specific kind of egotism that goes beyond monetary gain. This need for glory is reflected in his film, and Hong’s masterful camerawork highlights the price some are willing to pay for their art. The result is a delightful 61 minutes of intellectual analysis just as breathtaking as any painting worthy of hanging on the walls of the Louvre.
Photo courtesy of The Cinema Guild
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