Hong Sang-soo has finally made an action film. Of course not. Again, this is much more of the same from Hong, to the point where this will blend into all his other films with a struggle for differentiation. Even the fact Isabelle Huppert stars has no unique value, starring now in her third collaboration with the director - not my favourite of his works, I might add.
The premise for this comes from an interesting place. Iris (Huppert) is a French woman living in Seoul, a seemingly accomplished French teacher, though conducts her lessons largely in English. But on entering her second lesson with Won-ju (Lee Hye-young) and her watching husband Hae-soon (Kwon Hae-hyo), we learn she is a complete novice, trying out teaching as she spends her days wandering.
The couple are sceptical, but sit out the lesson nonetheless. Conversing, and drinking (as is Hong's way), in English, we have a repetition of the conversation with her earlier student. It appears Koreans only learn certain stock phrases when studying English. Iris wants people to express more.
This, therefore, is the set-up for much of the conversation and drinking Hong films rely so much upon. Iris encourages her students to open up more and more; to dig a little deeper until they find what they truly want to express. A quick translation into French is scribed, with the student given the note to learn by rote. That way, they will be able to express themselves more in French than any vocabulary textbook will teach them.
Along her journeys, Iris encounters some Korean poetry, which is quickly translated for her, furthering her belief to learn more about a culture from a short text rather than a full vocabulary. This idea, while key, doesn't perhaps sustain a film entirely on its own. Though Hong's films maybe never fully satisfy, despite the enjoyment they offer. As ever, it is long discussion to get to a realised argument.
It is beyond this idea, however, where the film falters a little. Iris is living with a younger Korean poet, In-guk (Ha Seong-guk). Awkwardly, his mother visits, and Iris makes herself scarce. What follows is a fairly typical debate between parent and child as to concerns over the unconventional relationship. While perfectly serviceable, it doesn't perhaps have the charm of much of Hong's dialogues.
It also weakens Iris' role. Much like "In Another Country" (2012), Huppert comes off as simultaneously charming, awkward and vulgar, to the point where you're not quite sure how to take her. The last half hour, therefore, confuses what was up until then a well-worked piece on the nature of travel, translation and expression.
We do not need to speak a language fluently to understand and experience a culture. In fact, that knowledge may limit us to generic platitudes. As a traveller, it is more important to keep an open mind.
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