dos filmes que eu vi do yang, percebi que eles se sustentam nos fantasmas da infância, cresce-se mas não se sabe o que fazer. Arremessados do mundo cujo idealismo foi arrancado, as ações são mais inexperientes do que paradoxas. uma arquitetura que promete uma nova vida, sempre no futuro.
Yang was a fine director, but few subjects duller for me than urban angst. Yet how he adored it! It'd help if anyone in Taipei Story had personality - nope, all bored poker-faced mopers roaming through neon-lit tedium. Pretty empty. And ends with a killing, naturally. Of the four Yang films I've seen, three end with a quiet angry little guy killing someone with a knife - the fourth with a guy blowing his brains out.
Yang's formal and unwavering gaze follows the doomed fate of two characters navigating a cold, indifferent urban landscape in a world that seems to be always moving on without them. At one point, a character asks, "Is [drinking] your habit or your hobby?" In this light, what unfolds over the course of the film as a series of unconnected quotidian tragedies begins to look inevitable and fatalistic.
Digital 4K Restoration, Taipei in a film. Yang's attempt to formulate an all-around observation of the social deluge and distinctions in modernity as a whole, through the interlocking antithesis of class, generation, gender, and cultural penetration. " It is only a brief hope, and it will make you feel like a new start." (Lung on marriage, and America)
Of the four Yang films I've seen, this is loosest, but his loving eye comes through: actions that may seem paradoxical are instead relatable in a cast of characters who have been deposited into adulthood and left to grapple with a mixture of indecision, insecurity, and regret. Note the bookended structure: empty rooms that promise a new life, but finally with a guarded distrust that the promise can be fulfilled.
A breathtaking and utterly controlled vision of divided social space, divided generational gestalt, divided cultural legacy, divided couples, and divided souls (the selves, here, are indeed perilously divided from themselves). A humbling level of stylistic / formal control and structural sophistication here, belying the fact that this is merely Yang's second feature proper. This is a bleak, high-impact knockout.