In Another Country

In the modest seaside town of Mohang, where the tide whispers against weather‑worn shacks and the horizon stretches into a calming bluescape, a mother and daughter arrive seeking respite from looming debts. The quiet harbor, dotted with modest guesthouses and a solitary lighthouse, offers a pause from the frantic city life they fled, inviting anyone who steps onto its sand to breathe a little slower.

Won-joo, a restless film student, arrives with a notebook full of half‑formed ideas, intent on turning the town’s simple rhythms into a screenplay. Beside her, Park Sook, her pragmatic mother, balances the practical concerns of their precarious finances with a quietly stubborn optimism. Their shared escape becomes a delicate choreography of survival, creativity, and an unspoken longing for renewal.

The town’s gentle rhythm is subtly disrupted by the arrival of a charismatic French visitor known simply as Anne. Though the name repeats, each encounter with an Anne feels distinct—a filmmaker’s muse, a lover’s secret, a friend in need—hinting at hidden layers beneath her poised exterior. She weaves through the lives of locals such as Jong-soo, his pregnant wife Geum-hee, the enigmatic Korean filmmaker Moon-soo, and the steadfast friend Park Soon. Even the sun‑browned lifeguard, whose presence is both protective and oddly comic, crosses paths with her on moonlit beach walks, adding a quiet tension to the coastal tableau.

The film settles into a contemplative tone, balancing light humor with an undercurrent of yearning. It paints Mohang not just as a backdrop but as a character itself—its salty air, echoing gulls, and the steady pulse of the sea fostering unexpected connections. As Won-joo and Park Sook navigate their own uncertainties, they find themselves drawn into the subtle, interwoven stories of the women named Anne, each offering a glimpse of healing and understanding amid the town’s serene, lingering quiet.

Last Updated: August 10, 2025 at 06:52