The worst living director?

I don't want to be mean or anything but is it possible that Hang Sang-soo is the worst living director? I mean, we tried to get through his pretentious and tedious 2011 film, The Day He Arrives, and, not leaving bad enough alone, tried again last night to watch his 2012 In Another Country. Well, did watch it - though 3 out of 4 adults watching film fell asleep (new rating system potential here). Sang-soo gets a lot of mileage out his strange narrations in which conversations are weird and improbable and very stagey - and sometimes have the feeling of uncomfortable actors trying to improvise a scene - and in which scenes are played out again and again, with slight variations. These are tedious and even painful to watch, and in fact these are films designed not for an audience but for a graduate seminar - you could spend a lot of time talking about what the films "mean," but in the end do they mean anything at all or are they just a conceit? In Another Country seems to recognize that Sang-soo's stories are puerile and ridiculous, so this film begins with a young girl and her mom talking about some kind of family distress; then the young girl (maybe about 20?) goes off to a desk where she decides to write three short screenplays (as in Day Arrives, these are movies about moviemakers and, in particular, about grad students) - and then we watch the three versions of a story she creates. The fact that each one is odd and preposterous and stilted without being, in my view, striking or moving or imaginative in any way, is shielded from critical complaint because, hey, these are a fledgling's attempts at a screenplay and not "real" moviemaking. Nice try. In addition, most of the movie is in English, not Korean, in that the 3 plots are about a French director (Huppert) visiting this small seaside resort town, where she stays with a Korean filmmaker and his pregnant wife, and engages with one or two people in the town, notably lifeguard (some symbolism here? pretty heavy-handed) - so the very fact that the conversations seem artificial and broken can be attributed to everyone's speaking a non-native tongue. But can Sang-soon write a good scene in Korean? I see no evidence of that. These movies about movies w/ multiple versions of reality are by no means radical innovations - this is ground filmmakers explored pretty thoroughly in, say, the 1950s (Hiroshima, Rashoman, many others) and then moved on. Sang-soo ought to as well.