A weirdly hilarious melange of Mauvais sang and Shivers, blended with a very political premise. In these sort of apartment apocalypse movies, the characters tend to band together and making a mess of things (see e.g. High-Rise, Fireworks Wednesday); it's refreshing to see the characters here live out the resulting problems alone, for it makes the conclusion all the sweeter.
One of TML's more comedic approaches on his running motifs of loneliness, seclusion, depravity, etc. I can't take you seriously if you don't appreciate or at least acknowledge this man's genius. What is the extent of your film knowledge? How do you qualify your 'taste'? Hate to be a snob but subjectivism only goes so far when a body of work is objectively considered great film making. ¯\_(ツ)_/¯
(35mm, but it looks like it a 16mm: can anyone verify?) I was a bit disillusioned with the film, that has a somewhat lazy narrative — I wonder if the 69 minutes long TV cut (for Arte) is not a more cohesive one. Despite the unevenness of the film, the songs are irresistible and a genuine stun, and the hole rests toujours a mistery.
Саме так як я інколи зачаровано спостерігаю за рухом води, не помічаючи плину часу, я дивлюся фільми Цай Мінляна, розмірені, неквапливі, небагатослівні, лаконічні, але разом з тим дуже красномовні та об'ємисті. Сцена, в якій він піднімає її через дірку в стелі - неймовірно сильна за змістовністю та красою кадру.
More than the transcendent sound design, the frame-by-frame onslaught of almost-unbearable cinematographic beauty, the scathing hyperrealism, the lush textures and sumptuous palette, the bewitching magic of the plot (and the musical numbers! Gah!), I'm grateful for the plausibility of all those reasons so I don't have to admit that, really, it's that Tsai somehow made it through to my wary, walled-up little heart.
Tsai obviously rejects emotional cinema, producing instead conceptual forms. The problem is that his ideas about reality are basic, and his films end up being the most boring and empty I've watched since Béla Tarr. The dream sequences, for instance, could have been thought by a child. What we have in this film are bodies, but cinema is about characters and not flesh. After 10 or 20 minutes, no one cares anymore.