38/100 (Bu filmin yönetmeni ve kendini minimalist sanan mallar. Size iki çift lafım var büyük harfler ile yazıyorum. 1) BİR NOKTAYI 5 DK BOYUNCA HAREKETSİZ KAMERA İLE ÇEKİNCE SANATSAL BİR İŞ YAPMIYORSUNUZ. 2) NORMAL HAYATTA İNSANLAR DERDİNİ KONUŞARAK ANLATIYOR. SUSARAK DEĞİL... Söyleyeceklerim bu kadar.)
One wonders how could Tsai make a masterpiece of this proportion out of such scarcity of elements. This is about a woman in a decaying film theatre that is screening its last film. We never get to see the film being projected and the commentary on cinema, always present, is oblique and doesn't respond rationally. Time, as in all of Tsai's major works, is the film itself.
Stationary behaviors of the audiences and dynamic images on the screen work to distinguish between the real and artificial..The cinemas I went to after escaping from school closed in a time as the extinction of the dinosaurs.Now cinema means shopping mall , expensive tickets , expensive pop corns and coca cola.I have not been to cinema for a long time, ..this was the best tsai.
honestly i cant really remember what the film is about - save the part about a dying empty cinema and an actor watching his own act in a film he starred in. but what i remember was learning to appreciate how silence and the lack of action in a film can be productive - as counter-intuitive as it sounds. and that they can even say more than those moments filled with action and lights and sounds and noises.
i saw this in 35mm and honestly tsai is as good as cinema gets. tho this film was a test in patience, once i let myself get settled in it, i became mesmerized by its languid pace. tsai's films have a language all of his own. extremely minimalist yet hypnotic, hilarious, and soul-crushing all at once
Tsai imagines the cinema as a place where we bridge the space between us, which explains why this film defies conventional etiquette and has film-goers sit as close as possible in nearly abandoned space. But it's hard to find connection in a ghost town, and instead we might find the most exaggerated forms of ourselves (like peeing for 5 mins), which is of course what cinema also offers.
A film that has the effect of being not an elegy itself but already its memory, and one more poignant for coming to us in such immersive vividness, like its subject was something we cherished so profoundly - and long for so deeply - that the memory of its elegy was ingrained into our being. This is almost meta Tsai. Desperately beautiful cinema.