115 mins |
Rated
R (for brief drug use, nudity and language.)
Directed by Davy Chou
Starring Kim Sun-young, Louis-Do de Lencquesaing, Ji-min Park, Yoann Zimmer, Oh Kwang-Rok, Guka Han
Return to Seoul
Freddie (Park Ji-Min), a young French woman, finds herself spontaneously tracking down the South Korean birth parents she has never met while on vacation in Seoul. From this seemingly simple premise, Cambodian-French filmmaker Davy Chou spins an unpredictable, careering narrative that takes place over the course of several years, always staying close on the roving heels of its impetuous protagonist, who moves to her own turbulent rhythms (as does the galvanizing Park, a singular new screen presence). Chou elegantly creates probing psychological portraiture from a character whose feelings of unbelonging have kept her at an emotional distance from nearly everyone in her life; it’s an enormously moving film made with verve, sensitivity, and boundless energy.
“A staggering masterwork that reveals itself unhurriedly, one permutation at a time… perhaps the only film this year in which every single scene and every line of dialogue within them feel absolutely indispensable.” - Carlos Aguilar, Los Angeles Times
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Return to Seoul
Freddie (Park Ji-Min), a young French woman, finds herself spontaneously tracking down the South Korean birth parents she has never met while on vacation in Seoul. From this seemingly simple premise, Cambodian-French filmmaker Davy Chou spins an unpredictable, careering narrative that takes place over the course of several years, always staying close on the roving heels of its impetuous protagonist, who moves to her own turbulent rhythms (as does the galvanizing Park, a singular new screen presence). Chou elegantly creates probing psychological portraiture from a character whose feelings of unbelonging have kept her at an emotional distance from nearly everyone in her life; it’s an enormously moving film made with verve, sensitivity, and boundless energy.
“A staggering masterwork that reveals itself unhurriedly, one permutation at a time… perhaps the only film this year in which every single scene and every line of dialogue within them feel absolutely indispensable.” - Carlos Aguilar, Los Angeles Times
