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TIFF 2022: Prisoner’s Daughter, What’s Love Got to Do with It, Walk Up | Festivals & Awards


Still, the chemistry between James and Latif is serviceable at greatest. The politics are shortsighted. The enhancing is crisp and the cinematography on a few of the bigger set items, particularly Kazim’s eventual wedding ceremony, is lush. But “What’s Love Got to Do with It?” makes use of an ending that’s so rushed, that it by no means actually supplies any film magic romance to flutter into your coronary heart. 

Add Korean director Hong Sang-soo’s identify to the fast-growing pile of filmmakers who spent the pandemic making movies about themselves. In “Walk Up,” Byung-soo (Kwon Haehyo), a proxy of Sang-soo, is a middle-aged director left uninspired, in ill-health, and with out monetary backing to make his subsequent movie. With his teenage daughter (Song Sunmi), Byung-soo go to a three-story constructing belonging to his designer buddy Ms. Kim (Lee Hyeyoung) within the hopes that she’ll prepare his daughter in inside design. 

Sang-soo’s “Walk Up,” a self-reflexive, surreal black and white shot darkish comedy is usually too impressed with itself to excavate the plight of its director. Told in three components, a guitar melody introduces every part, every happening on a distinct ground within the constructing. In these segments, Byung-soo ages, begins and ends relationships, sees a buddy flip hostile towards him, loses his daughter, his well being and his inventive inspiration. 

More than a film about filmmaking, nevertheless, “Walk Up” is a pandemic flick meant to remind viewers of the preciousness of our existence. Still, one wonders why Sang-soo appears incapable of being a humanist. What precisely are we presupposed to really feel as Byung-soo bemoans the movie trade or cracks quips on the pandemic? The consequence leaves you at arm’s size, emotionally. 

Per normal, nevertheless, with Sang-soo the exact craft on show holds the facility to captivate: Small particulars within the manufacturing design, the narratively unpeeling enhancing, and the black and white cinematography, whose compositions rely closely on the latter shade for a dreamlike tone, are unimpeachably tight. But Byung-soo, and by some extension, Sang-soo, can’t fathom a world the place he’s not the focus. The strategy reeks of a self-indulgence that undoes the image. Even the deft sleight of hand by the Korean filmmaker to finish the movie, can’t save “Walk Up” from being a well-made, finely calibrated narrative with out an emotional throughline.   

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