Hsiao-Kang sells watches in the streets of Taipei for a living. A few days after his father’s death, he meets a young woman, Shiang-Chyi, who as it turns out leaves for Paris the very next day. Troubled by the behavior of his mother who prays constantly for the spirit of her late husband to return, Hsiao-Kang takes refuge in the memory of his brief encounter with Shiang-Chyi. In an effort to bridge the miles between them, he runs around setting all the watches and clocks in Taipei to Paris time. Meanwhile, in Paris, Shiang-Chyi confronts events that mysteriously seem to be connected with Hsiao-Kang. —screenrush.co.uk
Along with Edward Yang and Hou Hsiao-hsien, Tsai Ming-liang became one of Taiwan’s most prominent directors during the 1990s. His films regularly appeared in festivals around the globe and he received lavish praise from film critics worldwide. Born in Malaysia in 1957, Tsai moved to Taiwan and graduated from the Chinese Cultural University in 1982. For the next ten years, he worked in theater and writing screenplays for films and television. He directed his first feature in 1992, Rebels of the Neon God, which, with its tough but tender depictions of disaffected youth, earned him comparisons to Rainer Werner Fassbinder. In addition to Fassbinder, Tsai was also influenced by François Truffaut, to whom he was exposed as a student. His style differed from his idol Truffaut’s, however, like his countrymen Yang and Hou, Tsai preferred long takes, few close-ups, and sparse dialogue. And like another of his influences, Michelangelo Antonioni, he displayed a genius for placing the camera at… read more
Often little outwardly remarkable, Tsai’s pensive, static realism, where characters emote more with gestures than dialogue, here conveys not just the longing, hopelessness, and the fleeting connections that act as a respite for a generation of alienated individuals, but the despair of the world. For that, it’s likely the most palpable Tsai I’ve encountered, if there truly is such a thing - indeed, a little sensibility goes a long way (in this case, all the way to Paris).
This film is nothing less than an experience in re-learning what it means to see. When constantly surrounded by several avenues of instant gratification, there isn’t much that is as consummately fulfilling as taking the time to devote your attention to a film like this.
Francois Truffaut, Tsai Ming-liang, and the “reverberation, ambiguity and suggestiveness” of the cinephiliac writerly impulse of “the move.”
Tsai offers both an intensified take on his brand of voyeurism and a sweet valentine to his cast of regulars.
What Time Is It There dibuka dengan shot statis berdurasi panjang, seorang lelaki tua baru saja keluar dari kamarnya. Dia memanggil Hsiao Kang, anaknya sebelum duduk di depan meja makan. Dia duduk… read review
Oh wow. This was the first film by Ling-Miang I have seen and I was immediately struck by the austere and structured photography. The camera never moves. Music is minimal minimal, if at all. Yet… read review