I chose this screening based on Isabelle Huppert’s appearance and the vague recollection that the writer-director Hong Sang-Soo was important. I wonder what I might have written if I wasn’t aware of the director’s pedigree? I later realised that this was one of the films in competition for the Palme d’Or in 2012 and that Hong is a celebrated figure on the festival circuit. As I watched the film I had mixed feelings – but I kept watching.
This is a classic ‘festival film’, aiming to please very specific audiences. I would be surprised if Hong’s films get much distribution beyond festivals, but who knows? A low-budget offering, this features a total of seven actors, most of whom play roughly the same characters in three separate scenarios set in an attractive seaside location – little more than a few houses and a hotel/bar in a small bay with a beach. The scenarios are presented through the device of a young woman writing them out – as short stories I thought, but I later read that they were meant to be screenplay ideas. The writer works with her mother in a small hotel/B&B.
In each scenario Isabelle Huppert plays a Frenchwoman called Anne who stays in the B&B and who is first a film director, then a married woman meeting her lover and finally a woman who has just been divorced. Each scenario involves similar characters and settings – a walk to the shops, a stroll on the beach, an encounter with a lifeguard and an altercation with another Korean man involving accusations of infidelity. Huppert speaks English throughout and, since this is ostensibly a comedy, there are several interchanges between characters which depend on mis-communication. The serious discourse underpinning the encounters appears to be a satire on Korean men’s attraction to foreign women and the social consequences of the over-polite exchanges between men and women. I confess that the humour didn’t completely work for me – I could see that it was clever and it was at times amusing, but not laugh-out-loud funny. The repetition of similar jokes and the play around getting drunk on soju began to get tedious after a while.
Isabelle Huppert, who presumably met the director at Cannes (where he has been ‘in competition’ five times) relishes the opportunity to play against type, skittering along on heels or slouching in flats clutching a soju bottle. The overall look and feel of the film is certainly attractive but I was irritated by the abrupt camera zooms (a familiar trait in the director’s style it would appear) and I wanted more about cultural differences in adultery and small talk. I’m clearly not the ideal festival audience. Hong Sang-Soo has won many awards at festivals across the world since the 1990s so I’m probably missing something. Here’s a sequence from the film used as a trailer at Cannes: