One of the best films premiering at this year’s Venice Film Festival, I said in my review of Afternoon, “It’s always been easier to review Tsai Ming-liang’s films than to make sense of them. Characterized by an often impenetrable language of silence and immobility, the Malaysian-born, Taiwan-based filmmaker’s work triggers all kinds of intuitive response that writers crave, yet those same writers might be hard-pressed to explain what they’ve just seen on screen. In this sense, Afternoon poses the exact opposite dilemma, in that it’s by far the most verbal and straightforward project from Tsai – but how do you assess, evaluate, grade something so close to life you’re not even sure what to call it in cinematic terms?”
Featuring Tsai and his long-time actor-of-choice Kang-sheng Lee as themselves in an extended, unscripted conversation shot on static camera, Afternoon has no discernible narrative arc,...
Featuring Tsai and his long-time actor-of-choice Kang-sheng Lee as themselves in an extended, unscripted conversation shot on static camera, Afternoon has no discernible narrative arc,...
- 9/21/2015
- by Zhuo-Ning Su
- The Film Stage
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