Cannes 2012: In Another Country /You Ain't Seen Nothin' Yet!, review YOU AIN'T SEEN NOTHIN" YET!: * *; dir: Alain Renais; Starring: Mathieu Amalric, Lambert Wilson, Sabine Azéma, Anne Consigny, Michel Piccoli, Hippolyte Girardot. 115 min. In Another Country is an airy comic romance by the Korean director Hong Sangsoo which begins in a hotel in Mohang, a quiet Korean seaside town. A young film student called Wonju (Jung Yumi) idly jots down script ideas in her room. As she writes, we see three, or perhaps four, distinct stories playing out, all made up of common characters and motifs that emerge from Wonju's scribblings. Each involves a carefree Frenchwoman called Anne (Isabelle Huppert), who arrives in Mohang. Sometimes she is a director, and sometimes she isn't. She meets another director there: either Jongsoo (Kwon Hyehyo) or Munsoo (Moon Sungkeun). Sometimes they have a romantic entanglement, and sometimes they don't. She flirts with a lifeguard (Junsang Yu), or doesn't. There is a search for a lighthouse, or not. Hong's film rejoices in the capricious nature of romance and the samsaric ebb and flow of life, and it makes confusion woozily pleasurable. The characters talk awkwardly and often at cross-purposes in English, the only available common tongue. This is a visually eccentric and puppyishly funny film: the very best kind of odd. Alain Resnais is also playing with cinematic structure in You Ain't Seen Nothin" Yet!, although compared to In Another Country it feels considerably more like hard work. In the 90-year-old director's 18th feature, a phalanx of French actors, who play themselves, are brought together in accordance with the last wishes of a deceased playwright, ostensibly for the reading of his will. In actual fact, he wants them to appraise a video of a new production of his play Eurydice, and as they watch, they find themselves re-enacting, and then interacting with, the material. Resnais is deconstructing the nature of live theatre in a way that is possible only on film, which is an impressive, if niche interest, trick. But while his ambitious conceit hangs together over two hours of loudly-declaimed meta-metatheatricality, my word, does it feel like an unholy slog.