Has lots to say about porn, intimacy, sex, but also ends up mirroring certain aspects of porn like the cum shot-as-climax and cum on a woman's face more than perhaps necessary, even if here they are depicted more honestly than in porn. Still, some brilliant scenes, and eye-popping colours throughout (Almodovar could learn something about reds). Watermelons have never been shot better.
3.5. I can deal with porn, but that last scene was disgusting in a very uninteresting way. Before that, it is a study of characters linked not by dialogue but by objects, fluids, movements across urban paths - incredible. I'm still breaking into T M-L's stuff, after being blown away by Rebels. That film had similar techniques on the way of making connections that weren't so caught up in monogamous heterosexuality.
So I think this film is stunning and one of the most fascinating engagements with pornography and society I've ever seen — but please be warned that it grows more and more disturbing. From the first scene, which looks purely pornographic, to the last, which is entirely showing the artifice of porn, it builds a world of sexual alienation which must make do with insufficient replacements for the "water" of life.
There are films that words completely fail. You have either seen it or you have not. If you have, even if you hated the experience, you understand the experience. If you have not then nothing I write here would make any sense to you whatsoever. Now I'm off to eat some watermelon.
This film fits into the category of never-before-seen. It's hard to read The Wayward Cloud and I don't believe I can do it justice. However, there are a lot of feelings in regards to anything sexual: anguish, destruction, discovery & yes, healing. The staring contest at the end of the film is strange & dark & inexplicable to me. May need to revisit. I bet these actors want nothing to do w/watermelons these days.
I don't know if I like this film, but I sure do respect it. At times it feels like a conceptual masterpiece. At others, like a cartoon. It manages to walk the line between the sensual and the obscenely crude, between the erotic and the profane. It is campy but is certainly no joke. I'm not sure I understand the context entirely, but I always felt I could trust Tsai M-l enough to go along for the ride.
What to even say about this film... It is full excess, it doesn't inhabit the screen so much as the margins of film. Absurdist and unflinching, something to brag about having seen during the late hours of parties. The substance and point of this film is too fluid to summarize, or more appropriately put: the substance of this film is fluids. Strap in and strap on for TWC.