The perfect vehicle for the increasingly austere direction Tsai has been venturing in over the past decade. It's beautiful, maddening and mesmerising. Marseille looks great and Lee Kang-sheng's slow-walking is extrapolated from the theatre with aplomb. An extra bonus is having another of the cinema's great expressive actors, Lavant, involved.
Great film on time, space, movement and, above all, awareness – of our place in the word. I loved the meditative and contemplative performance amid the frantic pace of the daily routine. I felt like hypnotized and caressed by the slow flow of steps, calming gestures hiding a deep thinking, in a sort of transcendence. The few scenes could be considered modern «tableaux vivants» by definition. Impressive.
Beautiful! Refreshing! Contemplative! Thought-provoking! Moving! Inspiring! Like "slow" movies? This one rules them all. It's like watching a tableau-vivant. The photography is superb and the selection of settings exquisite. A feast for the eyes. Abstain if you are shallow-minded, easily bored, or prefer to have the thinking done for you.
As Marseille is challenged by the slow walker, the public is challenged by the small amount of shots and the lack of vertigo in the editing. The engaging is hard, demanding the concentration of a dark cinema (or a home simulation) for its contradictory ideas to modern filmmaking. But In the end the world is turned upside-down, the search for the "monk" is obsessively taking place. Surrender to the film is achieved!
This is a piece of art work that is extremely unique . You are sitting and exploring all the items and characters in the scene, like sitting in front of a painting and watching it. Examination of events. Which randomly happens in it, ordinary people around the main character. It is a confrontation between traditional form of life and modernity. Calm concentration in front of hustle and bustle.
So much ascetic rigor for nothing: the Buddhist body is being recontextualized, and through a movement in space in real time, presented in a mere juxtaposition to the West and its dynamics only to appear as an object of spectacle, and eventually a caricature of Buddhism.
2.5 | My LaVache Beadsman part took charge of me and all she could make me think of while watching this was how someone can even conceive the idea of walking barefoot down underground stairs. I guess my spirituality - if I have any - develops more when in contact with nature and beauty. I guess my LaVache Beadsman part is still in the shower.
First of all thank you @MUBI for treating us to a Tsai Ming-Liang film this holiday season! I am really ending the year in the best way. There is something hypnotic about Tsai Ming-Liang films including this, and how he lets you observe every detail, every passerby, every emotion, until you're completely absorbed. And Lee Kang-Sheng is the perfect creature for them. I hope to watch the rest of the Walker series here!
A reflection about the relationship between western and eastern society, through the journey of a budist monk in Marseille. The monk moves across the city with bare feet, in a such slowly and rarefied way that he seems static. It express the impossibility to go beyond the simply imitation of gestures: Denis, symbol of a world in creative crisis, try to imitate the monk, without becoming aware of vacuity.