Slashfilm by Hoai-Tran Bui

In The Woman Who Ran, Hong lets go of all vanity and gives Kim a well-deserved spotlight. With Kim’s rueful performance, and the film’s roaming, Eric Rohmer-like sensibilities, The Woman Who Ran allows itself to take solace in serenity and not worry so much about the would haves and could haves.

The New Yorker by Richard Brody

Even great and prolific directors have high points, and this film is one of Hong’s best; its form relies on disturbing ironies to approach one of the mightiest of subjects—the nature of happiness and, in particular, a happy marriage, from the perspective of a married woman.

The New York Times by A.O. Scott

The Woman Who Ran is a cinematic sketch, and also the work of a master.

The Playlist by Beatrice Loayza

Foregoing the knotty male-female relationships (and soju bottles) of recent work, Hong examines instead the textures of female relationships and what independence might look and feel like for women entering a new, more mature stage of life—and how a short trip out of one’s comfort zone might generate bounties of food for thought.

The Playlist

Foregoing the knotty male-female relationships (and soju bottles) of recent work, Hong examines instead the textures of female relationships and what independence might look and feel like for women entering a new, more mature stage of life—and how a short trip out of one’s comfort zone might generate bounties of food for thought.

IndieWire by Eric Kohn

The movie has a loose, almost amateurish quality to its production that suggests another rush job from a filmmaker unwilling or unable to slow down. But the movie reveals its deeper layers with time, congealing into a perceptive and often charming bite-sized study of smart women contending with a series of annoying men.

The Film Stage by Rory O'Connor

Woman Who Ran looks and feels like a pleasant farce in comparison to much of Hong’s recent output.

The A.V. Club by Lawrence Garcia

An unassuming but richly suggestive portrait of a lonely vacationer.

The Guardian by Peter Bradshaw

Watching this film means recalibrating your expectations so you can gauge the subtleties and absorb the sotto voce implications about relationships and sexual politics. Pretty much all the way through, nothing very sensational seems to be happening. And yet the movie’s sensational meaning is hiding in plain sight: in the title.

Variety by Jessica Kiang

This deceptively offhand vibe requires the actresses to project effortless naturalism, and they all deliver.

Screen Daily by Wendy Ide

Although perhaps on the enigmatic end of the Hong spectrum, The Woman Who Ran touches rewardingly on themes such as relationship dynamics and gender roles. The delicacy of the predominantly female-driven storytelling is unassuming but beguiling. And Hong goes so far as to skewer his own tendency to indulge monologuing windbag male characters in previous films.

The Hollywood Reporter by Boyd van Hoeij

Hong, who handled screenplay as well as directorial, editing and scoring duties, is in fine form here.

Slant Magazine by Chuck Bowen

Hong Sang-soo invests the ironic, despairing theme of the film with humor and empathy—an empathy that he suggests he cannot extend to the women of his life.

The A.V. Club by A.A. Dowd

The Woman Who Ran is ultimately a minor doodle, even by Hong’s standards; it lacks the games of nonlinear structure, cognitive dissonance, or lightly surrealist Groundhog Day cycles that mark his best work. But the film has its moments, too, most of them concerned with the way social propriety affects communication.