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Critics Consensus: Claire's Camera adds another deceptively unassuming entry to writer-director Hong Sang-soo's oeuvre -- one whose lingering impact belies its brief length.
Critic Consensus: Claire's Camera adds another deceptively unassuming entry to writer-director Hong Sang-soo's oeuvre -- one whose lingering impact belies its brief length.
All Critics (46) | Top Critics (12) | Fresh (42) | Rotten (4)
I'm not entirely sure why the film works. Its a blithe disinterest in telling a conventional story will leave some viewers, even discerning ones, feeling unsatisfied.
At 69 minutes, "Claire's Camera"...is among Hong's shortest movies. But it feels complete, just the right amount of time to spend part of a weekend at Cannes with some charmingly dysfunctional people.
The actors are all terrific. Jung makes So so self-aware that you can, at least for a time, abide his abject selfishness. Nam is complex; she's difficult to like at first, but she has reasons for her behavior.
"Claire's Camera" runs 68 minutes and is as slender and unassuming, in its own way, as a Polaroid. But you may emerge from it not feeling like quite the same person, either.
Hong is an acute observer of the subtleties at play in each interaction, of the tiny power shifts that can take place over the course of a conversation.
Claire's Camera is, like many of Hong's best comedies before it, amusing without necessarily being laugh-out-loud funny.
Claire's Camera is not among the director's best efforts and yet, has the power to captivate us with its lightness, effortless spontaneity, and instinctive charm.
[Director Hong Sang-soo] allows the audience to think, to see the films through their own lens and give the work a different perspective -- just as Claire can be seen forming her own impression of her new friends in Claire's Camera.
Claire's Camera is the cinematic equivalent of milk ice tea. It doesn't really add up to much substantially. But it's sweet, looks nice and it goes down smooth. Kim Min-hee singing children's songs is worth the price of admission.
What, at first, seems like a compact comedy of errors or a tangential riff on spontaneous relationships and ephemeral existences becomes a more fruitful study in finding the hidden meanings of life within the workaday.
The sort of humorous diversion that functions as a sort of figurative and literal light at the end of the tunnel.
Isabelle Huppert is so natural. [Full Review in Spanish]
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