There's much fun to be had spotting the divergences from one version to the next, both in terms of the conversational tone and - less perceptibly - visual composition. Some scenes are shot from exactly the same angle, but others are skewed just a little to shift the focus of the action or to allow for an alternative use of Hong's immediately recognisable crash-zoom. As events unfurl for the second time, Chu-san is less on a charm offensive, and more likely to offend, offering forthright honesty in place of his previously calculation and the benefit of being oneself is evident, even if its not quite so pleasant at the outset. The problem is that the work remains slight, especially given that audiences are not in on the thematic exploration until the day restarts half way through. The conversations are diverting enough, and both Jung and Kim are delightful on screen, but what bones there are cannot be determined until an awful lot has been digested. The patiently played scenario is vintage Hong, but the runtime feels particularly protracted and the lulls and pauses take on their meaning far more successfully once the viewer knows what they're looking at. This will hardly put of Hong's hordes of acolytes - for this is a thematically interesting work - but Right Now, Wrong Then is perhaps best enjoyed by fans.
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Ben Nicholson | @BRNicholson