Browsing Tag

Tsai Ming-liang

by Evan Morgan Film Retrospective

The Walker Shorts | Tsai Ming-liang

In 2013, around the time that Stray Dogs had its world premiere at the Venice Film Festival, Tsai Ming-liang announced his retirement from filmmaking. In the seven years since, he’s shown himself to be a rather active retiree, signing his name to no fewer…

by Daniel Gorman Film Retrospective

Face | Tsai Ming-liang

 It’s perhaps presumptuous, a little reductive even, to speak of an artist’s filmography as movements or periods, particularly when they are still making new, vital work. Still, it’s useful to look at 2009’s Face as both a kind of grand summation of certain formal…

by Connor Murphy Film Retrospective

Madame Butterfly | Tsai Ming-liang

Considering the breadth and consistency of Tsai Ming-liang’s filmography, it’s initially hard to regard the short Madame Butterfly as much more than a curious aberration. The film is a particularly loose adaptation of Puccini’s famous opera, shot digitally and wholly devoid of the director’s…

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…

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…

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…

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…

by Luke Gorham Film Kicking the Canon

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 any…

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