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by Daniel Gorman Film Retrospective

Sleeping on Dark Waters | Tsai Ming-liang

Given his relative renown amongst a certain type of adventurous, festival-savvy cinephile, interviews with Tsai Ming-liang tend to focus on either the ‘slowness’ of his films or their symbolic meanings. The short, behind-the-scenes documentary Sleeping on Dark Waters, released in 2008 but made from…

June 10, 2020
by Ayeen Forootan Film Retrospective

The Wayward Cloud | Tsai Ming-liang

Tsai Ming-liang’s cinema is primarily concerned with naifs and innocents, usually confronted with complex existential conditions, and with The Wayward Cloud (and arguably 2009’s Face, as well), the director offers a complete radicalization of such binary forces. Here, Tsai continues the narrative of sort-of…

June 10, 2020
by Paul Attard Film Retrospective

My Stinking Kid | Tsai Ming-liang

There’s something of a double bind that living with a disability provides in terms of individual identity and personal autonomy: that of either a desire to  simply exist outside of the context of any handicap or possession of an understanding that any sense of…

June 10, 2020
by Selina Lee Film Retrospective

Goodbye, Dragon Inn | Tsai Ming-liang

In 2003’s Goodbye, Dragon Inn, Tsai Ming-liang’s gentle ode to cinema, the Taiwanese director’s famously steady camera trains on a handful of moviegoers catching a late-night screening of wuxia classic Dragon Inn. Tsai’s funhouse mirror is subtle and suspenseful, and he carves out a…

June 10, 2020
by Lawrence Garcia Film Retrospective

The Hole | Tsai Ming-liang

In his essential Jerry Lewis essay “The Jerriad: A Clown Painting,” film critic B. Kite discusses the lineage of classic clowns like Chaplin, Keaton, and Laurel and Hardy, saying: “The great comedians are metaphysicians. Through their relations with space and interactions with the material…

June 8, 2020
by Matt McCracken Film Retrospective

The River | Tsai Ming-liang

Released in 1997, Tsai Ming-liang’s The River extended what would become a de facto family trilogy in which the same actors reprise identical roles within a particular domestic structure, with Rebels of the Neon God as the first entry and What Time Is It…

June 8, 2020
by Luke Gorham Film Retrospective

Vive L’amour | Tsai Ming-liang

In many ways, Tsai Ming-liang’s Vive L’amour follows (or establishes, given its chronological situation within his filmography) many of the director’s most characteristic tendencies. From the outset, wonky angles capture images in slight distortion; primary characters exhaust nearly half of the film’s runtime before…

June 8, 2020
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