Hill of Freedom

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    Hill of Freedom

    Jayueui onduk

    Directed by

    South Korea


    66 min

    • English
    • Korean


    Toronto IFF - Masters

    Kwon, a language school instructor, stops by her old workplace and receives a thick envelope addressed to her. A Japanese instructor named Mori had proposed to her two years ago. She turned him down. Mori had immediately gone back to Japan, but now was back in Korea looking for her. The envelope enclosed letters he had written to her during his search through Seoul. After Kwon finishes the first letter in the lobby, she grows faint coming down the staircase and drops the letters. She gathers them off the floor and sees there are no dates on the letters. She now has no way of knowing the order in which they were written.



    Ryo Kase
    Sori Moon
    Younghwa Seo
    Euisung Kim
    Hong Sang-soo
    Hongyeol Park
    Sungwon Hahm
    Yongjin Jeong

    Director's Statement

    These were my initial thoughts: a woman receives letters from a man from her past. A man she remains undecided about. The thick envelope contains number of undated letters written in diary format. The startled woman fumbles with the letters, messing up their sequential order by mistake. How does this affect the significance of the content she will be reading? Can this disorder of sequence work to lessen the woman’s shock when reading the man’s letters?



    An agreeable romantic trifle.

    Guy Lodge, Variety

    It’s one of his best films to date, and demonstrates that Hong’s jaundiced vision of Korean culture... can transcend the specificities of language.

    Michael Sicinski, Cinema Scope

    [Hong] is able to naturally observe ordinary human interactions in a way that feels refreshingly accessible and direct.

    Adam Woodward, Little White Lies

    We enjoyed the film’s naiveté, which seems unforced and genuine, and its occasionally witty insights into language and cultural barriers.

    Jessica Kiang, The Playlist

    [Hong's] funniest film.

    Jake Cole, House Next Door

    Hong gives us a soulful, subtly acerbic, tongue-in-cheek critique of narrative coherence.

    John Anderson, IndieWire

    It is a strong supporting cast all around, particularly including Moon So-ri’s remarkably open and vulnerable Young-sun.

    Joe Bendel, Libertas

    The central relationship is shaped with tenderness and nuance and the other people - adorable dog included - that Mori encounters all enhance the overall humour of the piece.

    Ben Nicholson, Cine-Vue

    [Hong] demonstrates a sharp ear for non-native English and the overstatement and over-emoting that is the inevitable result of trying to communicate in a language you don’t speak fluently.

    Ignatiy Vishnevetsky, A.V. Club

    Sang-soo Hong

    Sang-soo Hong

    South Korea

    Korean filmmaker, Hong Sang-soo (born in 1961) has written and directed more than sixteen film. His first feature, THE DAY A PIG FELL INTO THE WELL (1996) won several prizes at different international film festivals, including IFF Rotterdam, and was followed by WOMAN IS THE FUTURE OF MAN (2004) and TALE OF CINEMA (2005), both selected for competition in Cannes. In 2010, his film HAHAHA won the Un Certain Regard Prize at Cannes, where he subsequently competed with THE DAY HE ARRIVES (2011) and IN ANOTHER COUNTRY (2012). In 2013, with his film OUR SUNHI, he won the Leopard for Best Director at Locarno Film Festival, where in 2015 his feature RIGHT NOW, WRONG THEN was awarded the Golden Leopard for Best Film. His film YOURSELF AND YOURS screened at Toronto IFF and San Sebastian IFF.

    Selected Filmography