If there’s an equivalent to Hong Sangsoo in contemporary American cinema, I guess it may as well be Joe Swanberg. Both directors are wildly prolific, churning out tales of middle class ennui and relationship anxiety with frightening regularity. Both work with extremely low-budgets and high-quality actors, the result of the curious mix of critical acclaim and lack of box office their films achieve. Their films have a relaxed, naturalistic vibe in pace and performance, with lengthy scenes of actors seemingly just hanging out (and, more often than not, drinking). Of course, Hong is know for his structural experimentation, each film taking the form of a new exercise in narrative unreliability, where dreams and waking life, the past and the present, and multiple versions of reality all coexist in an unstable, purely cinematic universe. Swanberg, on the other hand, seems allergic to structure, shying away from anything that could be construed as plot, what can charitably be called an experiential vision of narrative. Hong always knows precisely where to place his camera, and once there, rarely moves but for an occasional ostentatious quick-zoom that serves to reframe the image and functions as a stand-in for the emotional impact of editing. Swanberg apparently is aware that a camera is essential for the making of a motion picture.