An established preoccupation among film directors is how the re-staging of a scene from different perspectives alters the tone, message and experience of an otherwise unchanged plot. Whether it’s the strictly formal experimentation of The Five Obstructions or the philosophical interrogation of subjectivity in Rashomon, even the most strikingly distinct auteurs are curious to witness how changes, whether they be subtly atmospheric or obviously performative, redefine the entire message of a scene, an act, or an entire film. Korean director Hong Sang-soo’s Right Now, Wrong Then follows the flirtatious courtship of a middle-aged arthouse director and a younger painter over the course of a day, before restaging the exact same events with differences both slight and noticeable. Having bagged the top prize at Locarno last year, Sang-soo’s latest film is not only an intriguing vehicle of cinematic experimentation, but an eloquent statement on the importance of selflessness in developing meaningful human connection. The first half observes Ham Chun-su, a well-respected Korean filmmaker, visit the city of Suwon, where one of his films is being screened.