不用夸张的镜头语言，洪常秀这次把伊莎贝尔·于佩尔捧到了极致——从进入电梯那一刻起，就逼着你盯着她细微的面部肌肉抽动，看一代宗师如何像个疲惫的新手一样在这个陌生的城市里连败三场。 于佩尔与李慧英的对手戏是全片的锚点，她们并非在演绎戏剧冲突，而是在演一出关于“无法开口的遗憾”。这并非传统意义上的剧情片，而是洪常秀对“逃离”这一母题的最新解构，适合追求观众席式共谋体验的影迷。这一次他跟伊莎贝尔·于佩尔玩了一出即兴的“欧洲逃亡记”，李慧英的干练被这场无厘头的公路戏磨得温柔破碎，权海骁站在镜头里却莫名显出一种迷人的寂寞。如果你平时喜欢看人发呆、听闲聊，或者对那种不追求爽点的真实生活流水账感兴趣，这趟旅途回味起来还挺上头的。☺。

　　This woman who came from who knows where says she came from france. She was sitting on a bench in neighborhood park, diligently playing a ch ild's recorder. With no money or means of supporting herself, she was advised to teach French. In that way she became a teacher to two Korean women. She likes to walk barefoot on the ground and lie down on rocks. And when she is up to it, she tries to see each instant in a non-verbal way, and to live her life as factually as possible. But life remains as hard as ever. She relies on Makkeolli everyday for a small bit of comfort.

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