A Taiwanese filmmaker makes a film based on the myth of Salomé at the Louvre. He gives the part of King Herod to the French actor Jean-Pierre Léaud. For the box-office, the production company gives the role of Salomé to a famous model. But problems arise as soon as filming begins…
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Summarizing Tsai’s obsessions while sharpening his style, Face is ultimately the ideal Louvre film: an entrancing and unnerving tour of one gallery after another, each image a work for viewers to lose themselves in.
One of the most visually pleasing films I've seen from the last few years. The closeups of the faces of Lee kang-sheng and Laetita Casta provide an interesting point-counterpoint of Eastern male and Western female beauty.
I can't decide about this piece. In some ways, I feel like Tsai has flourished and manifested himself onto celluloid in a most cumulative way. His ideas are stretched and his vision is pushed. There are times it doesn't add up. A great portion of the film struck me a choppy, but I still cannot resist Tsai's lilt, humor, and charm.
The most extraordinary elegy for a whole generation of French cinema comes from an Asian master! Tsai, like Cocteau's Orpheus enters through the mirror into another world of life and death, dream and cinema.
It's remarkable mostly that this film exists; that enough people with money wanted it to happen. I love the cruising scene with Mathieu Amalric and the scene in the mirror between Ardant and Leaud. And then there's that ridiculous and lovely Salome slaughterhouse scene.
Master Tsai's films just kept growing growing like huge tree branches... constantly diverging, expanding and always inspiring and touching somewhere deeply. I met him last year when FACE was screening in Taiwan. He has so much heart into his own films even still today. One of the sweetest man and the deepest film artist.
Just saw Visage at the Rotterdam Film Festival. Tsai introduced the movie as his "Self-Portrait but not really a autobiography". Overall it is less accessible then his earlier work and the 3 "story lines" never really interact. However, Tsai is massively playing around with the possibilities of cinema, without any pressure for success or fear of failure. It's just pure love for the movies. Watch it with a open heart.