Director Hong Sang-soo, once again, puts huge effort into delivering a non-pretentious, overly human and interactively strong drama, this time, holding upon the foundations of questionings and doubts towards the deep grounds of love and its consistency, dealing with infidelity, treason and doubt, all from a simple-yet-effective point of view towards a tormented main character that might reflect the director's own personal struggle in such a fashion way.

"Geu-hu" might not be one more example of the excellence of the south korean cinema that we have been receiving in the past few years. But the korean Woody Allen, Sang-soo Hong proves to be good in creating horizontal and static camera movement, while developing good dialogues and characters, which are complemented by Hae-hyo Kwon's and Min-hee Kim's acting talent. The movie is refreshing, calm, different and, despite the controverse plot, smooth. Some shots, dialogues and voice overs were, well ... meh. Hope to sse a better project from this director.

Amusingly bittersweet yet quietly resplendent...

While dealing with the trope of the "other woman" Hong Sang-soo's films have always been very philosophical without being moralistic.

Shot in chilly, silky digital black and white, it plays with chronology in a way that seems both casual and musically precise.

The Day After may not be a particularly great film, but it does feel like a necessary one.

Hong tells the story in long and dialogue-filled takes, done in a soft black-and-white that feels like pencil drawings, to extract deep and earnest confessions with a graceful touch that shudders with the life-shaking emotions at their core.

An undeveloped comical sketch in black and white about infidelity and mistaken identity.

The Day After is very slight, which isn't a problem, just an observation that it's incredibly slice-of-life.

[Temporal jumps] serve to extend beyond that one day where most of the story unfolds, and in that way show three possible stages of a loving relationship... [Full review in Spanish]

As in other Hong [Sang-Soo] movies, time is malleable and capricious... [Full review in Spanish]

... increases his satirical humor through a series of gags that does nothing but generate more mockery against the person in charge. [Full review in Spanish]

The Day After has all the hallmarks of something unostentatious-except, it isn't. This is actually trickster Hong working in his element, albeit more surreptitiously than we're used to seeing.

... an oeuvre whose variations on a self-reflexive theme have increasingly become more revealing, more raw, and also more devastating.

Elegantly shot in glorious black-and-white, the film is buoyed by Kim's charming performance. Love affairs don't always turn out the way you expect.