The Day After's reviews
Media reviews
The Playlist
Infidelity has long been one of Hong?s central subjects, but The Day After might just be his greatest film about the ails of mixing business with pleasure.
The New Yorker
Avowals of literary ambitions and familial devotion, stories of death and faith, and a bold dramatic structure?based on flashbacks and leaps forward in time?set the vagaries of work and love on the firm footing of destiny
Los Angeles Times
The machination is comic, and the repercussions carry the awkward tinge of threadbare farce, but the vibe is pure melancholy, echoed in the clinically beautiful monochromatic cinematography and the tinny, weeping musical phrase Hong often leans on to close his extended takes of dialogue.
The Hollywood Reporter
Though finally a little too familiar and wispy to be counted among Hong?s best work, this should nonetheless please fans of the prolific director, though it is unlikely to bring him many new admirers.
Variety
Even lesser Hong has its lackadaisical pleasures, and The Day After has its share of wry musings and twitchy banter between characters to counter its visual stasis and lulling storytelling
Roger Ebert
With the uninspired pity party comedy The Day After, self-lacerating Korean dramatist Sang-soo Hong continues a trend towards un-productive self-loathing that began last year with the half-empty "On the Beach At Night Alone" and continued with the half-full "Claire's Camera."
Cinemanía
It is absolute purification: four characters and only three scenarios (...) And with a plane, from inside a taxi (...) [which] is to do as Will Smith and get up breaking into applause.
Fotogramas
Another example of lovely autofiction