"The plot components are the same ones Hong normally works with — drinking, attendant addled confrontations, romantic fumbling, women correctly explaining to various men why they’re idiots — but with new variations, per usual. The fights are way uglier; normally, yelling comes rather pathetically, accompanied by weeping after prolonged drinking, but here they start sober, fast and unpleasant. No one announces they’re a director until halfway through, beer and makgeolli are being consumed instead of soju; most crucially, instead of the usual structure in which two or three parts perform variations on the same scenes in the same order, the repetitions and situations are unmoored from any predictable, linear order. As his most structurally radical film yet, it’s bracingly disorienting and feels like a crucial new evolution in Hong’s work. And it features one of his most characteristically telling lines about perpetually disappointing men: 'I’ve never met a truly impressive man.' True!"
That's the crux of this TIFF write-up.