Three distant mountains; three chatty encounters between long-acquainted women; three comically tiresome intrusions from self-important men shot only from behind. Prolific South Korean arthouse staple Hong Sangsoo has dealt in playful, internally rhyming triplicate before, but never with such a gently sardonic female focus, and seldom as straightforwardly as in his airy, charming Berlin competition trinket “The Woman Who Ran.” (Spoiler alert: No women run.)