Korean filmmaker Hong Sang-soo's films play like Woody Allen comedies by way of Éric Rohmer dramas. They often involve filmmakers and academics, with dialogue that takes precedence over incidents, minimal camera setups, and the occasional burst of classical music, though he otherwise eschews conventional scoring. There are also a lot of cigarettes and soju (a traditional root or grain spirit). And they're exceptionally well-acted.
Our Sunhi begins as the title character (Jung Yu-mi in her fifth go-round with the director), who plans to study abroad, runs into Sang-woo (Hill of Freedom's Lee Min-woo), a figure from her past. He insists, forcefully, that they get coffee, echoing the visiting professor in Nobody's Daughter Haewon who won't take no for an answer, but Sunhi declines because she's looking for Professor Choi (The Day He Arrives' Kim Sang-jung). He tells her the professor is out of town, but it's a lie.
Upon locating Professor Choi, Sunhi asks him for a letter of reference for graduate school but doesn't answer when he asks why she's been hiding. He says he fears her reclusive tendencies will impede her filmmaking aspirations, but agrees to write a letter, cautioning that he won't hold back. Good to his word, he writes that "she is reserved," "rarely expresses herself," and "lacks courage." Once Sunhi meets with him to discuss his concerns, though, things take an unexpected turn.
When Sunhi runs into Sang-woo again, she scolds him for lying about Professor Choi's whereabouts, but he writes it off as a joke, claiming she's too "innocent" to take it (it seems more likely that he's jealous). Things go from not-great to worse when she runs into Munsu (frequent Hong player Lee Sun-kyun), who made a less-than-inspiring film about their former relationship, leading to several bottles of soju and beer and baskets of fried chicken--but no reconciliation.
Compared to previous Hong women, like Haewon, Sunhi is surly and defensive. The men aren't much better, though Sunhi seems more capable of growth. Munsu, for instance, can't accept that their relationship is over. Hong follows him as he meets up with Jaehak (Right Now, Wrong Then's Jae-yeong Jeong), a recently separated director, in hopes of eliciting sympathy, except he has come to the wrong place. "Don't try to hold her back," Jaehak advises. "If she wants to go, then let her."
When Sunhi later meets with Jaehak, a mutual friend, he encourages her filmmaking ambitions--then hits on her (Jaehak is also friendly with Professor Choi). Every male-female interaction in the film is inappropriate or unwelcome in some way.
By the end, Sunhi has gotten Professor Choi to write a new letter, even if her tactics seem suspect. Afterward, the three suitors wind up at the same place at the same time in hopes of a rendezvous, but things don't go as planned. Though Our Sunhi isn't exactly a comedy, Hong gives his focused heroine a farcical way to rid herself of the trio in one fell swoop.
Where does this title belong on library shelves?
Our Sunhi belongs on Korean and foreign film shelves in academic and public libraries with other titles by Hong Sang-soo. It's available individually and as part of a three Blu-ray set with Oki's Movie and Nobody's Daughter Haewon.
What kind of film series could use this title?
Hong 15th feature would fit with series on his films about women as well as a wider survey of contemporary Korean cinema.
What type of instructors will use this title?
Our Sunhi would fit with college-level courses on Korean culture and cinema, especially romantic comedies.