Claire’s Camera (Hong Sangsoo, 2017)

2017 - Claire's Camera 4

Mysterious Object at Cannes

Claire’s Camera, barely over an hour long and shot in about a week at last year’s Cannes Film Festival, isn’t even the best Hong Sangsoo movie of the past year. That would be On the Beach at Night Alone. Nor is it likely to be the most popular, with The Day After, which like Claire’s Camera played at Cannes this year, more likely to attract an audience outside of Hong’s hardcore devotees, with a look and mood more in line with the masters of the European art film. But there isn’t a film this year that I’ve had more fun thinking about and rewatching than Claire’s Camera, with the possible exceptions of Baahubali 2 and the film Hong had at this year’s SIFF (and last year’s VIFF), Yourself and Yours. Every Hong film gets better the more times you watch it, his peculiarly fluid approach to reality and temporality make even the most basic elements of his scenarios matters for speculation, kaleidoscopic objects that shift not only meaning but cause and effect with every new viewing. But Claire’s Camera is exceptional in this regard. Each time I’ve seen it, I’ve had to invent a whole new theory of the film, none of which have so far managed to explain all the facts as they’re presented. Watching it is like trying to solve a puzzle in which several key pieces are missing. I’m going to try and work through it here, which will involve sorting through the plot in detail. If you haven’t seen the film yet, you should, it’s delightful. But you should probably stop reading now if spoilers concern you.

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