Synchronicity: as a beautiful phenomenon made up by beautiful minds in a lonely world; or maybe a desperate mechanism - desperate minds, desperate world. But what is it, then, when our fabricated synchronicities, with all their beauty and loneliness and desperation, just happen to coincide? Why that, that's a Tsai Ming-Liang film. Gorgeous and immersive as always. And my god that fish! Way to break my heart, Tsai...
Un film bouleversant ou peut-être plus bouleversé qui sait. Les personnages ne sont pas donnés ils sont scrutés. Le temps s'écoule différemment il est conté et non pas compté . Incroyable metteur en scène qui filme une respiration, une douleur, une quête de culture une quête d'histoire, d'amour. Ce n'est pas toujours donné à suivre mais c'est tellement beau et toujours je me souviendrai des derniers plans du film
this is a really good movie about lonely people if you are affected by long takes and the combo of really intensely emotional characters and sparsely plotted stories. the last twenty minutes made me wanna gouge my eyes out and throw them into the pool at the luxembourg gardens for the beauty of it all
A ponderous character study of the sad and lonely. The art house ambitions and ties to French cinema are anything but subtle, and I couldn't help feeling that Tsai's cinema of stillness began veering into banal tedium. Of course, I love the intertextuality of Lee Kang-sheng watching scenes from The 400 Blows as he hugs a pillow and weeps, but watching him urinate into various plastic vessels was less inspired.
The first Tsai I've seen that I can call without question a masterpiece. It's those unreturned glances and gestures, those moments of potential happening that shrivel to nothing but memory and lost time that charge this film with its beautiful energy, it moved me nearly to tears. 5/5
Beautifully sad, poetically composed tale of three people whose lives become irrevocably intertwined - a watch seller, his superstitious mother, and the young woman he sells a watch to one fateful day before she flies away to Paris. Traces haunting connections between all three stories, often in single long takes, Tsai Ming-Liang gracefully weaves the stories together into something disarmingly beautiful.