A prodigious director of actors, [Hong Sang-soo] maintains a sense of spontaneity that renders the characters' behavior natural and relatable.

| Apr 13, 2020

Although The Day After seems a bit too trivial to compare to some of Sangsoo's more substantial titles, this melancholy faced comedy should amuse the director's fan base.

| Original Score: 3/5 | Oct 10, 2019

A kind of filmed therapy that offers a unique window into the soul of an artist.

| Original Score: 3.5/4 | Jun 3, 2019

Hong Sang-soo directs another minimalistic film, which focuses on witty dialogue to get his comments through, and occasionally functions as a stage play, particularly due to the long takes of people simply talking

| Mar 7, 2019

The Day After is as messy, desperate and hopeful as real life, and twice as entertaining. Not many directors as prolific as Hong are making anything as masterful as this.

| Original Score: 5/5 | Mar 4, 2019

Shot in black and white, the film allows viewers to observe the characters like a visual document, but at the same time, entertaining them with humorous nuances.

| Oct 24, 2018

The film does bring on a few laughs but doesn't make one engage with the situation and the characters.

| Jul 12, 2018

Hong's priorities are different from other filmmakers; he eschews an adherence to film language decorum in favor of interrogating emotions and ideas that are important to him, in ways that make sense to him.

| Jun 5, 2018

Amusingly bittersweet yet quietly resplendent...

| May 17, 2018

While dealing with the trope of the "other woman" Hong Sang-soo's films have always been very philosophical without being moralistic.

| Original Score: 5/5 | May 15, 2018

[An] uninspired pity party comedy.

| Original Score: 2/4 | May 11, 2018

Shot in chilly, silky digital black and white, it plays with chronology in a way that seems both casual and musically precise.

| May 10, 2018

The Day After may not be a particularly great film, but it does feel like a necessary one.

| May 9, 2018

A lazy shoulder shrug of a movie that never bothers to work out who its characters are, what they want, or why their ostensible problems should be of interest to anyone else.

| Original Score: C | May 8, 2018

Hong tells the story in long and dialogue-filled takes, done in a soft black-and-white that feels like pencil drawings, to extract deep and earnest confessions with a graceful touch that shudders with the life-shaking emotions at their core.

| May 7, 2018

An undeveloped comical sketch in black and white about infidelity and mistaken identity.

| Original Score: B- | Apr 9, 2018

The Day After is very slight, which isn't a problem, just an observation that it's incredibly slice-of-life.

| Apr 4, 2018

[Temporal jumps] serve to extend beyond that one day where most of the story unfolds, and in that way show three possible stages of a loving relationship... [Full review in Spanish]

| Jan 2, 2018

As in other Hong [Sang-Soo] movies, time is malleable and capricious. [Full review in Spanish]

| Nov 27, 2017

Increases his satirical humor through a series of gags that does nothing but generate more mockery against the person in charge. [Full review in Spanish]

| Nov 9, 2017