‘What Does that Nature Say to You’ Review: Hong Sangsoo Takes a Blurry Lens to Early Adulthood

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In “What Does that Nature Say to You,” if you’re accustomed to the style of Hong Sangsoo, you might assume a familiar pattern. Known for his rapid filmmaking pace and realistic portrayals of characters discussing casually, yet harboring underlying melancholy, this Korean auteur maintains that approach in his 33rd feature. The movie begins with comforting dialogues, gradually unveiling hidden truths rooted in suppressed opinions. However, what sets this film apart is its more avant-garde form, a departure from his previous works, though the reasons for this experimentation may not be immediately apparent.

The narrative unfolds through grainy and slightly out-of-focus footage, as struggling thirty-something poet Donghwa, portrayed by Ha Seongguk, drives girlfriend Junhee (Kang Soyi) to her parents’ supposedly modest suburban home on a hill. To his surprise, the residence turns out to be far grander and expansive than expected. At first, it seems Donghwa isn’t invited inside, but an unexpected encounter with Junhee’s father, Oryeong (Kwon Haehyo), a man who takes pride in his politeness, transforms the casual visit into an extended meeting-the-parents scenario, revealing layers of complexity.

In Junhee’s household, it so happens that his mother, Neunghee (Park Miso), is a poet. However, she spends most of her day away, leaving Junhee without the comfort of regular conversations with her. Meanwhile, while Junhee connects with his older sister Yunhee (Choi Sunhee), who stays at home, Donghwa and Oryeong finally find time to bond after a long period. It’s been three years since they started dating, but the idea of introducing Donghwa to his father has only recently come up. Their discussions during this time are curious, lacking significant tension, but subtly setting the stage for Hong’s characteristic outbursts during dinner and drinks later on. It might shock you to discover that Donghwa struggles with alcohol.

Nevertheless, whereas Hong’s arguments during drunken moments tend to be more about venting emotional baggage, “What Does that Nature Say to You” uncovers underlying economic concerns that make Donghwa feel compelled to hide behind his defenses, even when under the influence. Oryeong seems genuinely welcoming, a perfect portrayal of a “cool dad,” but their encounter with Donghwa adds a professional tone to even the friendliest conversations, giving off an impression similar to that of a job interview (the ultimate goal being to secure the role as son-in-law).

In my perspective, the movie seems to wander aimlessly through its dialogues, yet this leisurely unfolding serves as a clever trick by Hong, adding mystery to the storyline. The unspoken aspects of Junhee’s family, and Donghwa’s strained relationship with his successful father – a renowned attorney whom he appears resentful towards – intensify the underlying tensions about Donghwa’s own identity and the economic advantages he seems reluctant to embrace. It’s challenging not to view this narrative as an introspective exploration, if not a difficult acceptance, of Hong’s own upbringing as an artist hailing from a filmmaking family, who enjoyed numerous privileges during his formative years.

Living as a poet involves striking a tough compromise, and Donghwa, despite driving an old car, seems to deliberately emulate the younger, idealistic, possibly innocent portrayal of the elderly philosopher-bard Uiju (Ki Joobong) from his latest drama “In Our Day”. This imitation extends to his distinctive goatee. However, Donghwa’s actual poetic references and personal philosophy are not clearly defined. His aesthetic choices appear intentional in emulating a poet or independent artist, as noted by Oryeong about his facial hair. Spending the day with Junhee’s family forces the young poet to confront challenging thoughts about himself and his relationship, which seem to have been left unaddressed or overlooked between him and Junhee for quite some time.

The power of “What Does that Nature Say to You” as a subtle character analysis lies in its creative application of video format. Hong’s reserved gaze is frequently disrupted by abrupt actions, such as camera pans across the environment and sudden close-ups on ongoing dialogues. These elements do not dominate the film, but they underscore crucial moments, while also contradicting Hong’s typical disciplined approach, suggesting a raw, untrained hand behind the camera, perhaps that of an enthusiastic beginner hired to record the weekend events. The movie seems more like an amateur video, capturing moments before they happen – or a wedding video where the wedding itself is uncertain.

In most of his work, Hong tends to capture his characters from an objective, almost omniscient viewpoint. However, this seemingly continues throughout the film, yet its soft-focus style can make scenes a bit hazy for viewers as they follow the storyline. Eventually, it becomes clear that this visual style is derived from a particular character’s perspective, despite the camera being positioned at a distance. A brief conversation between characters hints that the film’s events may be perceived or envisioned through the lens of this specific character’s unique viewpoint, as one character mentions needing glasses due to lifelong blurry vision. The movie discusses beauty often, particularly in relation to the natural scenery surrounding the characters; however, its subdued visual style makes it challenging to appreciate this beauty. Essentially, Hong seems to immerse us in the mind of a poet for whom understanding and interpreting the world is a constant struggle.

Through deliberate imperfections in his typically flawless craft, Hong reflects an unusual perspective on “In Our Day” – a movie filled with nostalgia – and weaves a narrative where reflecting on the stagnation of early adulthood becomes a painful process. Few directors have managed to capture so accurately the apprehension about whether authenticity is achievable at all, a struggle that is as real as it gets.

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2025-02-20 21:47