LE JOUR OÙ LE COCHON EST TOMBÉ DANS LE PUITS

For his first full-length movie, Hong Sang-soo borrows a title from John Cheever and asks four screenwriters to each develop a character. He then constructs the network of their relationships, inventing most of the dialogue in the course of the filming. The film demonstrates a predilection for structure and process, resem- bling the following in the details and diverging from it in the outcomes: its complex thread is that of a melodrama, whose moods lead towards an astonishingly tragic unravelling, in view of things to come. (AT)