Rarely does a film make architecture the main character in such an interesting and nuanced way. This film certainly doesn't, it could have, but it doesn't. Instead we are centered on perhaps a selection of the two most horrendously underdeveloped and unwatchable characters I've seen this year.

I got into the Backrooms lore when I was young, I played the games - Kane Parsons really has a way of presenting something that seemingly has endless layers to it, with endless…

It’s electric, full of characters that are incapable of being honest with themselves or anyone else. Everyone wants something—they don’t know how to say it.

Then there is Marty, so blunt in his self-appointed purpose its disturbing, but you can’t look away. The editing in this film won’t let you look away, because there is always so much happening and it dares you to smile with this character, cry, laugh, admire, cringe.

This web of decisions is so chaotically presented,…

If I'm honest, I'm not sure I could give you a run down of what happens here. It already feels like a faint, distant memory of a feeling---and it seems Lee Chang-dong is using simple brush strokes to paint that feeling with this film: one that feels so grand yet human. Chang-dong seems to be the perfect director to have adapted a Haruki Murakami novel, and the experience feels so serene and thought-provoking, similar to that feeling you get when…