A disillusioned killer embarks on his last hit but first he has to overcome his affections for his cool, detached partner. Thinking it's dangerous and improper to become involved with a ... See full summary »
Tsai Ming-liang returns with this latest entry in his Walker series, in which his monk acquires an unexpected acolyte in the form of Denis Lavant as he makes his way through the streets of a sun-dappled Marseille.
The film focuses on three city folks who unknowingly share the same apartment: Mei, a real estate agent who uses it for her sexual affairs; Ah-jung, her current lover; and Hsiao-ang, who's ... See full summary »
A tilted figure, consisting largely of right angles at the beginning, grows by accretion, with the addition of short straight lines and curves which sprout from the existing design. The ... See full summary »
This is a mess, something made with some sort of self-exploration in mind, inaccessible to us.
The subject is males who play women or womanish roles in films. The stance of the film is that there is such a thing as discrete homosexuality and gender identity and that the Chinese are adventurous, far more so that the west. But it keeps stumbling over itself as the interviewed Chinese seem not to understand the framework. They just do what has been done, incubated in a culture that was parallel to the one that developed the rather stringent roles we as say Americans are working with.
We had the curse of Pauline Christianity and all that flows, shaping gender and sex in a uniquely western model gilded with guilt. There is much to explore in that model. And much to explore in the Chinese one. But to smash the two together and pick and choose as a matter of self-justification well, that's perverse.
Some of the film segments are lovely.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
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