the architecture and set design in yang's films are a genre on their own, aside from being incredibly aesthetically pleasing, they reveal an unpolished hurtful truth about his unattainable protagonists, without forcing anything. you'll eventually learn about their sleeping habits, their fear of the uncontrollable, and which books are lying on the shelves, simply to impress any upcoming guests.
Ineccepibile dal punto di vista della costruzione dell'immagine, pecca un po' a livello di sceneggiatura, nonostante il lavoro a sei mani con l'eccellente duo Chu Tʽien-wen / Hou Hsiao-hsien (qui anche nelle vesti del protagonista), risultando un po' scontato negli sviluppi melodrammatici.
A punch to the gut about a city caught in transition that imposes its own loss of humanity on the people inhabiting it. These early Yang films where he channels his inner Antonioni are both, such perfect emulations of the latter's essence as well as exceptional works of individuality by a master that cinema really glosses over as part of its history. Modernity on film, rarely feels suffocating as it does here.
so dark and bleak. almost silent but carries so much weight. Yang' s ping-pongs from protagonists' stories to that of the city, mirroring their reflection of personal disillusion and conflict and amplifying it. that image of the moving pepsi-cola tin is paradoxically one of the saddest things I've seen.
There's a long, depressing distance between Chin and Lung, at least transforming into something in the last 30 min. Even then, the monotone mood still lingers. Among this dead relationship, there's a melancholic beauty found everywhere in Taipei. Particularly within this rooftop shot of Chin looking at the FujiFilm neons.
The way the drama softly and quietly builds up, gradually revealing characters' tendencies, regrets, and hopes is excellent. I like how much happens off-screen and the way characters are like enigmas: so alike to our lives' experiences. Taipei story makes few compromises to interpret reality. This is a fundamental work to understand (or, rather, to feel) the coming to adulthood in urban modernity.
"Everybody has changed, except you". Showing the effects of americanization, "Taipei story" doesn't offer any consolation at all. People in bars listen to Tina Turner while talking gabberish all the time, family ties seem to be devaluated. An empty appartment in the beginning, an empty space at the end. "Why would you move to America? They're coming here". Hurray (but not too much)
Avec son deuxième long-métrage, Edward Yang pose un regard sur Taiwan et ses habitants et met en scène plusieurs oppositions, qu'elles soient humaines ou dans l'évolution entre tradition et modernité. Plusieurs autres thématiques se dégagent (le rapport aux USA, la vie tout simplement, les rapports aux autres) au sein de ce groupe de personnages bien construits et dont les enjeux vont être pertinents et intéressants.
the already moody auteurship of edward yang must have been perfect for tempering the rapaciousness of taiwanese film at the time of taipei story, yet there is a conspicuous lack in his otherwise sculpted amalgam of inhuman change bearing weight on daily matters: the aura of momentum, hopeless curiosity in the wavering precipice of entelechy: how we touch at the edges of our lives when we wonder, is this all of it?
learning to let go of the old and find comfort in the new and unfamiliar. a draining spiral throughout the first half, followed by a pendulum of mood as the two protagonists explore their own paths. squatting in business-industrial, 10f up. body leaking onto concrete on the mountain pass, lights in the distance. the film didn’t have any answers, and many times there just aren’t answers. i appreciate that.