While Hong has turned out 17 movies in the last decade, Diaz has managed The most obvious difference, of course, is that one Diaz film tends to be anywhere from three to five times longer than the average Hong.
Small crews, a stable of recurring collaborators, relatively simple digital cinematography, and proudly regional locations with a few notable exceptions for each allow both directors to work quickly and keep their budgets low. But both offer a different way of approaching narrative film, typically an expensive, industrial art form that in their hands becomes personal, diaristic, sketched out, and always unfinished β ideas are fluid, continued on from one film to the next, like a run-on sentence.
There are no snaking steadicam takes, no elaborate trickery. If figures are speaking to each other, Diaz simply sets the camera down and lets the conversation play out. It all flows together, a slipstream of shared experiences. Continuing to make art is sometimes the best we can hope to do. Granted, Loach has made that claim before, and he nevertheless feels compelled to keep working.
But there would be something rather fitting, if unfortunate, if Loach called it a day following The Old Oak. As cruel and deleterious as Thatcherism has been for the U. That, of course, has a long British tradition too, and in recent years the British commentariat has been reviving the ghosts of paleo-racists like Oswald Moseley and Enoch Powell, suggesting that maybe these hatemongers have a point. Dave Turner , the middle-aged owner of the titular pub. A once thriving community hub, The Old Oak is now a broken-down dive barely kept afloat by a small collection of old-timers.
But T. After a young thug attacks a young woman named Yara Ebla Mari , destroying her camera, T. They are kind, industrious, but wholly ordinary people responding to an oppressive regime, and they want to become part of the larger community.
