Nothing like coming back to a film that once bored me senseless only to rewatch it and realize that it’s a masterpiece. There are so many things to love, like the fact that the dialogue is mostly redundant, and it’s the quiet moments that really make the film what it is. There are some beautifully deadpan gags as well, like the 3 main characters sneaking around the apartment trying not to make each one’s presence felt. The film also feels like a genesis of what is to become recurring motifs in Tsai’s films: water, watermelons, sex, urban alienation and Lee Kang-Sheng’s ass. Tsai also maybe known for not moving his camera much, but in this film the camerawork is surprisingly fluid. Tsai may never be able top this film. <’,))(