Tsai Ming-liang
1957 (67 лет)
The Story of Film: An Odyssey
Mark Cousins
Mark Cousins, Jean-Michel Frodon
Эпическое путешествие по мировыми столицам от Болливуда до Голливуда, это «золотой век» 20-х годов и появление звука. Это истории секса и мелодрамы в 50-е и великие кинозвезды 50-х и 60-х, масштаба Федерико Феллини. Это американский кинематограф 60-х и 70-х, когда режиссеры пытались изменить мир, появление картин «Звездные войны», «Челюсти» и «Изгоняющий дьявола». Это 80-е, время протеста в кино, новый «золотой век» 90-х и появление новых звезд на небосклоне в наше время.
The Story of Film: An Odyssey
French Cinema Mon Amour
Damien Cabrespines, Ann-Solen Douguet
Jean-Pierre Dardenne, Luc Dardenne
French Cinema Mon Amour is an ensemble film in which each contributor brings their own voice, their own particular approach, their culture, and their language to produce a portrait of French cinema.
French Cinema Mon Amour
Rebels of the Neon God
Tsai Ming-liang
Chen Chao-jung, Lee Kang-Sheng
Defying his parents, disaffected youth Hsiao Kang drops out of the local cram school to head for the bright lights of downtown Taipei. He falls in with Ah Tze, a young hoodlum, and their relationship is a confused mixture of hero-worship and rivalry that soon leads to trouble.
Rebels of the Neon God
Vive L'Amour
Tsai Ming-liang
Lee Kang-Sheng, Yang Kuei-Mei
Three lonely young denizens of Taipei unknowingly share an apartment: Mei, a real estate agent who uses it for her sexual affairs; Ah-jung, her current lover; and Hsiao-kang, who's stolen the key and uses the apartment as a retreat.
Vive L'Amour
The Hole
Tsai Ming-liang
Yang Kuei-Mei, Lee Kang-Sheng
In the final days of the year 1999, almost everyone in Taiwan has died from a strange plague that ravished the island. As rain pours down relentlessly, a single man is stuck with an unfinished plumbing job and a hole in his floor. This results in a very odd relationship with the woman who lives below him.
The Hole
Missing Pictures Episode 2: Tsai Ming-liang
Clément Deneux
Tsai Ming-liang
For every film completed, dozens of potential films fall by the wayside and never make it onto the big screen. In the VR experience Missing Pictures, Abel Ferrara, Tsai Ming-liang, Catherine Hardwicke, Naomi Kawase, and Lee Myung-Se give us a guided tour of a story they were not able to tell.
Missing Pictures
What Time Is It There?
Tsai Ming-liang
Lee Kang-Sheng, Chen Shiang-Chyi
When a young street vendor with a grim home life meets a woman on her way to Paris, they forge an instant connection. He changes all the clocks in Taipei to French time, as he watches François Truffaut's Les 400 Coups; she has a strange encounter with its now-aging star, Jean-Pierre Leaud.
What Time Is It There?
白鴿計劃：台灣新電影二十年
Hsiao Chu-chen
Sylvia Chang, Hou Hsiao-hsien
Richly illustrated with film clips and interviews, OUR TIME, OUR STORY tells the still-evolving story of the Taiwanese "new wave," from its rise in the early 1980s, as the island was democratizing after decades under martial law, through growing international recognition and domestic debate in the 1990s. Spearheaded in its early years by such filmmakers as Edward Yang, Ko I-cheng, Hou Hsiao-hsien and Wan Jen, the movement revitalized Taiwan cinema through low-budget experiments that emphasized personal stories, political reflection and stylistic invention. Said filmmakers, writers and actors like Wu Nien-jen and Sylvia Chang, even "second wave" directors Tsai Ming-liang and Lin Cheng-sheng provide fond reminiscences and retrospective insights in this compelling account of one of the most distinctive national cinemas of the last quarter-century.
Our Time, Our Story
我新认识的朋友
Tsai Ming-liang
Tsai Ming-liang, Lee Kang-Sheng
Tsai interrupted his pre-production for The River to make this pioneering documentary for Taiwan's nascent AIDS-awareness campaign. Ignoring instructions to 'play down the gay angle', he centres the film on his own very candid conversations with two HIV+ young men. Sadly the identities of the interviewees have to be concealed, and so the freewheeling camerawork focuses most often on Tsai himself; but the sense of rapport between the director and his 'new friends' is palpable and very moving, even to Western viewers already only too familiar with these issues.
My New Friends
Goodbye, Dragon Inn
Tsai Ming-liang
Lee Kang-Sheng, Chen Shiang-Chyi
On a dark and rainy night, a historic and regal Taipei cinema sees its final film: 1967 martial arts feature "Dragon Inn". As the film plays, the lives of the theater's various employees and patrons intersect, and two ghostly actors arrive to mourn the passing of an era.
Goodbye, Dragon Inn
那日下午
Tsai Ming-liang
Tsai Ming-liang, Lee Kang-Sheng
Lush jungle and a building in ruins are the ideal stage for a film-confession that defies storytelling and goes beyond conversation on cinema. Tsai Ming-Liang and his actor Lee Kang-sheng confess and put on stage a pièce in which attention and slowness are in tune with the rhythm of memory. The unveiling of Tsai Ming-liang’s filmmaking: from Stray Dogs to the most intimate notes of the director-actor relationship.
Afternoon
Fleurs dans le miroir, lune dans l'eau
François Lunel
Laetitia Casta, Fanny Ardant
The title of the François Lunel film is the Buddhist proverb concluding by: "all is but illusion". His movie draws the Tsai Ming-Liang's face during the shooting of his movie Visage, which itself is also a movie within a movie.
Flowers in the Mirror, Moon in the Water
海角天涯
Tsai Ming-liang
Pei-yu Wu
Mr and Mrs Chang live in Taipei's Hsi-Men-Ding (the city's entertainment/red light/nightlife district) with their teenaged kids. The parents work as cleaners in a "love hotel" and send the kids out to work as ticket scalpers, block-buying seats for hit movies like A City of Sadness and reselling them at a profit. Tragedy strikes when the daughter Mei-Hsueh flirts with the idea of prostituting herself and changes her mind at the last moment, leaving her first client with injuries that put him on the critical list. The focus throughout is on the son Ah Tong, who has a latent talent as a writer that is never going to flower.
All the Corners of the World
昨天
Saw Tiong Guan
Chen Shiang-Chyi, Hou Hsiao-hsien
A contemplative trip down memory lane with one of the leading voices of the Second New Wave of Taiwanese Cinema. Saw Tiong Guan clearly established a very personal bond with his subject, and also found many of Tsai Ming-liang’s colleagues prepared to complete this portrait of a quiet yet outspoken artist.
Past Present
