#kwon haehyo
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Happy 57th, Kwon Haehyo.
Hong Sangsoo’s Walk Up (2022).
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New York Film Festival 2022:
Walk Up (Hong Sang-soo), 2022
#films#movies#stills#Walk Up#Hong Sang-soo#Kwon Haehyo#Korean#2020s#NYFF60#New York Film Festival#seen in 2022
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Kwon Hae Hyo - Marie Claire Magazine October Issue ‘17
#Kwon Hae Hyo#Kwon Haehyo#Marie Claire#Marie Claire Magazine#Marie Claire Magazine October Issue 17#Kwon Hae Hyo*
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“Four years after South Korea’s total decimation in TRAIN TO BUSAN, the zombie thriller that captivated audiences worldwide, acclaimed director Yeon Sangho brings us PENINSULA, the next nail-biting chapter in his post-apocalyptic world. Jungseok (Gang Dongwon), a soldier who previously escaped the diseased wasteland, relives the horror when assigned to a covert operation with two simple objectives: retrieve and survive. When his team unexpectedly stumbles upon survivors, their lives will depend on whether the best—or worst—of human nature prevails in the direst of circumstances.”
Starring Gang Dongwon, Kwon Haehyo, Lee Junghyun, Lee Re, Lee Yewon, Kim Minjae, Kim Doyoon, and Koo Gyohwan.
Slated for release during August 2020
#peninsula#peninsula 2020#train to busan: peninsula#train to busan 2#train to busan#yeon sangho#egad this is probably...not the best time to watch this trailer#but still akfksdkfd#i'm still seeing this in august ahaha#holy shittt
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Kwon Haehyo
Marie Claire Korea <2017년 10월호>
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“On the Beach at Night Alone” joins the Berlinale in competition
"On the Beach at night alone" (Hong Sang-soo - 2017) has been invited to the Berlinale - Berlin International Film Festival, in competition
https://www.berlinale.de/…/pres…/alle/Alle-Detail_35348.html
"Bamui haebyun-eoseo honja (On the Beach at Night Alone)
South Korea
By Hong Sangsoo (Nobody's Daughter Haewon, Right Now, Wrong Then)
With Kim Minhee, Seo Younghwa, Jung Jaeyoung, Moon Sungkeun, Kwon Haehyo, Song Seonmi, Ahn Jaehong, Park Yeaju
World premiere"
#Hong Sang-Soo#on the beach at night alone#berlinale#berlin film festival#Korean cinema#kim min-hee#news#festival#홍상수
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Berlinale 2020: i D’Innocenzo e Diritti in concorso. Ecco i titoli
Nuovo post su italianaradio https://www.italianaradio.it/index.php/berlinale-2020-i-dinnocenzo-e-diritti-in-concorso-ecco-i-titoli/
Berlinale 2020: i D’Innocenzo e Diritti in concorso. Ecco i titoli
Berlinale 2020: i D’Innocenzo e Diritti in concorso. Ecco i titoli
Berlinale 2020: i D’Innocenzo e Diritti in concorso. Ecco i titoli
È stato annunciato il programma del concorso ufficiale della Berlinale 2020 e, trai titoli di sicuro interesse provenienti da tutto il mondo, l’Italia offrirà una doppia razione di Elio Germano al pubblico berlinese, dato che l’attore è protagonista sia di Volevo Nascondermi, il film di Giorgio Diritti sul pittore Ligabue, sia dell’opera seconda dei Fratelli D’Innocenzo, che dopo il successo de La Terra dell’Abbastanza, tornano con Favolacce.
Ecco il concorso della Berlinale 2020
Berlin Alexanderplatz
Germany / Netherlands
di Burhan Qurbani
con Welket Bungué, Jella Haase, Albrecht Schuch, Joachim Król, Annabelle Mandeng, Nils Verkooijen, Richard Fouofié Djimeli
Prima mondiale
DAU. Natasha
Germany / Ukraine / United Kingdom / Russian Federation
di Ilya Khrzhanovskiy, Jekaterina Oertel
con Natalia Berezhnaya, Olga Shkabarnya, Vladimir Azhippo, Alexei Blinov, Luc Bigé
Prima mondiale
Domangchin yeoja (The Woman Who Ran)
Republic of Korea
di Hong Sangsoo
con Kim Minhee, Seo Younghwa, Song Seonmi, Kim Saebyuk, Lee Eunmi, Kwon Haehyo, Shin Seokho, Ha Seongguk
Prima mondiale
Effacer l’historique (Delete History)
France / Belgium
di Benoît Delépine, Gustave Kervern
con Blanche Gardin, Denis Podalydès, Corinne Masiero
Prima mondiale
El prófugo (The Intruder)
Argentina / Mexico
di Natalia Meta
con Érica Rivas, Nahuel Pérez Biscayart, Daniel Hendler, Cecilia Roth, Guillermo Arengo, Agustín Rittano, Mirta Busnelli
Prima mondiale
Favolacce (Bad Tales)
Italy / Switzerland
di Damiano & Fabio D’’Innocenzo
con Elio Germano, Barbara Chichiarelli, Lino Musella, Gabriel Montesi, Max Malatesta
Prima mondiale
First Cow
USA
di Kelly Reichardt
con John Magaro, Orion Lee, Toby Jones, Scott Shepherd, Gary Farmer, Lily Gladstone
Prima internazionale
Irradiés (Irradiated)
France / Cambodia
di Rithy Panh
Prima mondiale / Documentario
Le sel des larmes (The Salt of Tears)
France / Switzerland
di Philippe Garrel
con Logann Antuofermo, Oulaya Amamra, André Wilms, Louise Chevillotte, Souheila Yacoub
Prima mondiale
Never Rarely Sometimes Always
USA
di Eliza Hittman
con Sidney Flanigan, Talia Ryder, Théodore Pellerin, Ryan Eggold, Sharon Van Etten
Prima internzionale
Rizi (Days)
Taiwan
di Tsai Ming-Liang
con Lee Kang-Sheng, Anong Houngheuangsy
Prima mondiale
The Roads Not Taken
United Kingdom
di Sally Potter
con Javier Bardem, Elle Fanning, Salma Hayek, Laura Linney
Prima mondiale
Schwesterlein (My Little Sister)
Switzerland
di Stéphanie Chuat, Véronique Reymond
con Nina Hoss, Lars Eidinger, Marthe Keller, Jens Albinus, Thomas Ostermeier, Linne-Lu Lungershausen, Noah Tscharland, Isabelle Caillat, Moritz Gottwald, Urs Jucker
Prima mondiale
Sheytan vojud nadarad (There Is No Evil)
Germany / Czech Republic / Iran
di Mohammad Rasoulof
Prima mondiale
Siberia
Italy / Germany / Mexico
di Abel Ferrara
con Willem Dafoe, Dounia Sichov, Simon McBurney, Cristina Chiriac
Prima mondiale
Todos os mortos (All the Dead Ones)
Brazil / France
di Caetano Gotardo, Marco Dutra
con Mawusi Tulani, Clarissa Kiste, Carolina Bianchi, Thaia Perez, Alaíde Costa, Leonor Silveira, Agyei Augusto, Rogério Brito, Thomás Aquino, Andrea Marquee
Prima mondiale
Undine
Germany / France
di Christian Petzold
con Paula Beer, Franz Rogowski, Maryam Zaree, Jacob Matschenz
Prima mondiale
Volevo nascondermi (Hidden Away)
Italy
by Giorgio Diritti
con Elio Germano
Prima mondiale
Qui trovate i quattro nuovi film di Berlinale Special
Onward
USA
di Dan Scanlon
con le voci di Tom Holland, Chris Pratt, Julia-Louis Dreyfus, Octavia Spencer, Mel Rodriguez, Kyle Bornheimer, Lena Waithe, Ali Wong
Prima internazionale / Animazione
Curveball
Germany
di Johannes Naber. Prima mondiale
DAU. Degeneratsia (DAU. Degeneration)
Germany / Ukraine / United Kingdom / Russian Federation
di Ilya Khrzhanovskiy, Ilya Permyakov
Prima mondiale / Documentario
Speer Goes to Hollywood
Israel
di Vanessa Lapa
Prima mondiale / Documentario
Cinefilos.it – Da chi il cinema lo ama.
Berlinale 2020: i D’Innocenzo e Diritti in concorso. Ecco i titoli
È stato annunciato il programma del concorso ufficiale della Berlinale 2020 e, trai titoli di sicuro interesse provenienti da tutto il mondo, l’Italia offrirà una doppia razione di Elio Germano al pubblico berlinese, dato che l’attore è protagonista sia di Volevo Nascondermi, il film di Giorgio Diritti sul pittore Ligabue, sia dell’opera seconda dei Fratelli […]
Cinefilos.it – Da chi il cinema lo ama.
Chiara Guida
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The Fake - Sang-ho Yeon
Pastor Sung (Oh Jungse, Running Man), the beloved shepherd to his rural flock, finds himself under the thumb of Elder Choi (Kwon Haehyo, Killer Toon), an unscrupulous man who manipulates him into swindling the villagers out of the money they’re to receive for a relocation project that involves the village being flooded to make way for a new dam. Realizing that Sung and Choi are not only stealing from the villagers, but putting them in peril, the warnings of a local outcast Min-chul (Yang Ikjune, The King of Pigs) fall on deaf ears. The villagers have come under the spell of these trusted men of God. But Min-chul will not be silenced. When his daughter is put in harm’s way, against all odds, Min-chul unleashes hell on the fakes.Variety called The Fake, written and directed by Yeon Sang-ho (The King of Pigs), “a ferocious, unsubtle indictment of organized religion” stating that the film “impresses with its backgrounds and richly detailed interiors.” http://dlvr.it/QN0fcT
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[UPDATE] 171004 WJSN BONA PERSONAL IG updates with Min Dohee , Chae Seojin , Baek Eunkyoung, Bang Sujin, Yeo Hoihyeon, Seo Youngjoo and Kwon Haehyo #우주소녀 #보나 #Bona
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Kwon Hae Hyo - Marie Claire Magazine October Issue ‘17
#Kwon Hae Hyo#Kwon Haehyo#Marie Claire#Marie Claire Magazine#Marie Claire Magazine October Issue 17#Kwon Hae Hyo*
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2017 #Cannes: Haehyo Kwon and Cho Yunhee attend the 'The Day After (Geu Hu)' screening during the 70th annual Cannes Film Festival at Palais des Festivals on May 22, 2017 in Cannes, France. (Photo by Gisela Schober/Getty Images); Former US vice president Al Gore and his partner Elizabeth Keadle pose as they arrive on May 22, 2017 for the screening of the film 'An Inconvenient Sequel : Truth to Power' at the 70th edition of the Cannes Film Festival in Cannes, southern France. / AFP PHOTO / LOIC VENANCE (Photo credit should read LOIC VENANCE/AFP/Getty Images); Nadia Kaci, Hania Amar and Aure Atika attend 'Waiting For Swallows (En Attendant Les Hirondelles)' photocall during the 70th annual Cannes Film Festival at Palais des Festivals on May 22, 2017 in Cannes, France. (Photo by Andreas Rentz/Getty Images) #HollywoodCiak #CannesFilmFestival #TheDayAfter #GeuHu #HaehyoKwon #ChoYunhee #AnInconvenientSequel #TruthtoPower #AnInconvenientSequelTruthtoPower #AlGore #ElizabethKeadle #WaitingForSwallows #EnAttendantLesHirondelles #NadiaKaci #HaniaAmar #AureAtika #fashion #Cannes2017 #Cannes70 #premiere #photocall #redcarpet #France #festival #followme @festivaldecannes
#nadiakaci#hollywoodciak#cannes2017#truthtopower#choyunhee#aninconvenientsequeltruthtopower#enattendantleshirondelles#france#cannesfilmfestival#aninconvenientsequel#aureatika#thedayafter#cannes70#geuhu#algore#fashion#elizabethkeadle#haehyokwon#haniaamar#followme#waitingforswallows#cannes#photocall#redcarpet#premiere#festival
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¡"Radiant Office" comparte fotos de la fiesta sorpresa de Hoya de INFINITE en el set de grabación!
Por Allkpop
El drama de MBC "Radiant Office", que se está transmitiendo actualmente, compartió fotos de la fiesta sorpresa que se llevó a cabo este 28 de marzo para el personaje Jang Kangho, ¡mejor conocido como Hoya de INFINITE!
Las fotos muestran a la actriz principal Go Ah Sung sorprendiendo a Hoya con un pastel y velas de cumpleaños, el rostro de Hoya iluminándose con una sonrisa y a los actores Lee Donghwi y Kwon Haehyo mirando con orgullo desde sus asientos. El staff del drama compartió que todos comenzaron a cantar feliz cumpleaños para celebrar.
Hoya dijo "No creí que supieran que hoy es mi cumpleaños así que muchas gracias por este evento sorpresa. Haré mi mejor esfuerzo."
❌ FAVOR NO RE-SUBIR ❌ NO COPIAR Y PEGAR
SI DESEAS COMPARTIR EL ARTÍCULO, COMPARTE EL LINK
Trad. Danny H para INFINITE REVOLUTION
©Allkpop
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The Day After
With the uninspired pity party comedy "The Day After," self-lacerating Korean dramatist Sang-soo Hong continues a trend towards un-productive self-loathing that began last year with the half-empty "On the Beach At Night Alone" and continued with the half-full "Claire's Camera." All three films are reminiscent of Hong's superior earlier work in that they all show the world through a unimaginatively self-critical lens: a libido-alcohol-and-spite-driven artist is inevitably dumped and/or eclipsed by a free-spirited woman who, after being unwittingly dragged into his orbit, is too smart to stay there. The key difference between these Hong's superior earlier work and his recent American releases—Hong has already made at least one more film—is that his newer films cut deeply into the egos of Hong's surrogates for the sake of making a facile point: the gift of self-awareness is wasted on people who aren't strong enough to do something about it.
"The Day After" is more of the same from Hong ("The Day He Arrives," "Ha Ha Ha"), only repackaged in a more conventional narrative. It is, in this sense, more accessible than either of his other recent American releases. But the main pleasure of watching a Hong film comes from noting the way his stories subtly mutate and change before your eyes. Viewers recognize narrative patterns while also acknowledging little variations in familiar tropes, themes, and characters.
In "The Day After," Hong's surrogate is boorish book publisher Bongwan (Haehyo Kwon) is introduced to us through a disorienting series of narrative false starts. Bongwan is immediately kicked out of his comfort zone after he, in a four-minute introductory long take, is confronted by his unhappy wife Haejoo (Yunhee Cho). This is the best scene in the film because it's the most alienating: just four uninterrupted minutes of unyielding deflections from Kwon as he refuses to outright answer his character's wife when she repeatedly asks: are you seeing another woman?
Bongwan goes for a walk following this non-starter of a confrontation, and his mind wanders with him. He visits his meek lover Changsook (Saebyuk Kim) and then imagines (or perhaps recalls?) a scene on the bus where he and Changsook are holding each other's hands. Then he goes to work, where he welcomes under-developed heroine Areum (Minhee Kim), his new assistant. But Haejoo soon barges in and accuses Areum of being her husband's mistress (mostly because Changsook was, until recently, Bongwan's assistant). A typically cringe-worthy confrontation ensues, but Areum shrugs it off. Still, it soon becomes clear that Haejoo isn't going anywhere. Bongwan, on some level, knows that he must make a decision, a conclusion that is only confirmed by a philosophical lunchtime conversation that he and Areum have that give him more questions to answer like: is Bongwan brave enough to commit to his ideals, or will he continue to accept an unhappy status quo because cynicism is easier than a little discomfort? (more on this conversation shortly)
At this point, Hong's narrative becomes a kind of self-conscious arthouse soap opera. He recycles the same musical cue three or four times, always when a character is on the verge of a breakthrough. But there is no resolution in sight for Bongwan since he refuses to make one for himself. Every so often, you'll hear a tinny synthesizer playing the same strain of music, as if sampling a missing track from Angelo Badalamenti's "Twin Peaks" score. But unlike Badalamenti's music, Hong's music cue only deflates the melodramatic elements on-screen. The music plays while characters cry, turn their back on each other, and walk away. But then the music eventually fades out, and normal life resumes.
But so what? Why is this personal art—Hong is, in real life, having a highly-publicized affair with Minhee Kim—necessarily good? As usual, Hong's actors deliver believably awkward performances. But the film's naturalistic rhythm and gorgeous black-and-white photography don't add much depth to an inherently soapy plot. If anything, Bongwan's stasis is an artistic feint akin to the kid who writes an essay or poem about his writer's block: it's a cop-out, but it's done with a wink, so it's ostensibly OK. Hong even acknowledges this when Areum and Bongwan most clearly articulate their temperamental differences during the above-mentioned lunchtime conversation. Bongwan, now jaded, desperately asks Areum how she could be so optimistic. "I just try" she replies. "I know I should believe, so I do." She is pure in his eyes, so she wins Hong's unbeatable game by forfeiting. I'd advise Hong fans to do the same, and just wait for his next effort, which will probably be out in a couple of months.
from All Content https://ift.tt/2G6FHtL
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