High exposure and high contrast lighting serve Liang's presentation of the dualities of tradition/modernity, body/soul, awake/asleep or its allegorical equivalent: ignorant/enlightened. He presents the realized distinction of gross human body and subtle buddha body by drawing asymmetrically. 85/100 - Excellent.
Very clever in the way it observes spaces and its figures and time - the time of the film becomes the time of the viewer, making it his own time - therefore, a singular time. Yet, by repeating the Buddhist character without granting him the time that is determinant and his own, who had already obtained it in a previous movie, reduces the scope of the film in this irreconcilable contradiction.
A supreme achievement. Massive lines of light & color, overwhelming abstract spacial patterns within specific cultural spaces--here Tokyo--, the Walker metamorphosing into someone entirely new. Unexpectedly, Tsai's frame reveals a man of David-like beauty; then the longing commences. The Walker's spiritual center shifts & the film moves to a new register. This just might have the greatest train sequence in cinema.