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A Frenchwoman in Korea, having lost her income, drinks makgeolli, then teaches French to two Korean women. A reference from Close-up: The Best Films and Other Results of 2024 (2024). Hong Sang-soo has finally made an action movie. Of course not. Again, this is much more Hong-like, to the point where it will blend into all his other films that struggle to differentiate themselves. Even the fact that Isabelle Huppert stars with no exceptional value, now in her third collaboration with the director—I might add that this is not my favorite of his works—comes from an interesting place. Iris (Huppert) is a Frenchwoman living in Seoul, a seemingly accomplished French teacher, although she teaches mostly in English. But as we head into her second lesson with Won-ju (Lee Hye-young) and her observant husband Hae-soon (Kwon Hae-hyo), we learn that she’s a complete novice and is trying to teach while spending her days wandering around . They’re skeptical, but they still leave the class. While talking and drinking (as is Hong Kong) in English, we replay a conversation with her previous student. It seems that Koreans only learn certain basic phrases when they learn English. Iris wants people to express themselves more. That’s why most of the talk and drink Hong Kong movies rely heavily on this. Iris encourages her students to open up more and more; to delve deeper until they find what they really want to express. A quick translation into French is written out, and the student is given a note to study as intended. This will allow them to express themselves in French more than any vocabulary book will teach them. During her travels, Iris encounters Korean poetry, which is quickly translated for her, which reinforces her belief that she can learn more about the culture from a short speech. text rather than a whole dictionary. This idea, while central, perhaps doesn’t hold the film together entirely on its own. While Hong Kong films may never be entirely satisfying, despite the pleasure they provide. As always, it takes a long time to get to the point of a realized argument. But beyond this idea, the film falters a bit. Iris lives with a younger Korean poet, In-guk (Ha Seong-guk). His mother visits uncomfortably, and Iris becomes a little squeamish. What follows is a fairly typical parent-child discussion about concerns about unconventional relationships. While perfectly appropriate, it probably doesn’t have the charm that so much of Hong’s dialogue has. It also weakens Iris. role. Much like "In Another Country" (2012). The last half hour therefore confounds what had been a well-done piece on the nature of travel, translation and expression. We don’t need to be fluent in a language to understand and experience a culture. In fact, this knowledge can limit us to common platitudes. It’s more important for the traveler to remain open-minded.Politic1983.home.blog.
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