Hong’s prolificacy and artistic subject matter are often compared to Woody Allen (not the most complimentary comparison these days, obviously) – as many of his films spotlight a film director with serious womanizing issues (and if his ‘protagonist’ is not a filmmaker, it is almost always another creative type – i.e. a poet or novelist). But his art – his more recent work especially – comes off far more self-critical than the similarly existential obsessed New Yorker’s does.

His movies self-reflexively make fun of themselves at this point, while simultaneously provoking thought regarding timeless social inquiries and taboo feelings. ‘Hotel’s’ climax, cleverly contrasted two gendered dinner conversations, in addition to featuring an incredibly comical proposition scene mocking the insecure state of men who can’t deal with the loss of systemic privilege.

His 2017 film, “On the Beach Alone at Night Alone,” which also starred Kim, made headlines because it famously addressed his public relationship with its lead – whom Hong (a married man, at the time) was reported to be having an affair with. His movies are sometimes so specific, they are arguably an acquired taste, but you should certainly check a couple out to see what his unique style is like.

Cinema Guild is releasing “Grass,” April 19 at New York City’s Metrograph.