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- Hsiao-Kang, now working as a pornographic actor, meets Shiang-chyi once again. Meanwhile, the city of Taipei faces a water shortage that makes the sales of watermelons skyrocket.
- On a dark, wet night a historic and regal Chinese cinema sees its final film. Together with a small handful of souls they bid "Goodbye, Dragon Inn".
- Kang lives alone in a big house, Non in a small apartment in town. They meet, and then part, their days flowing on as before.
- An alcoholic man and his two young children barely survive in Taipei. They cross path with a lonely grocery clerk who might help them make a better life.
- A day laborer is badly beaten, and a young man nurses him back to health.
- A watch salesman meets a young woman soon leaving for Paris and becomes infatuated, so he begins to change all the clocks in Taipei to Paris time.
- Hsiao-Kang, a Taiwanese film director, travels to the Louvre in Paris, France, to shoot a film that explores the Salomé myth.
- A bankrupt Taiwanese man loses everything including girlfriend. He still has a key to his luxury condo, where he grows and smokes marijuana. He spends time with a woman on suicide hotline and a lingerie clad woman selling cigarettes.
- 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.
- In 2019, the night in Hong Kong was still in fascinating beauty and the landscape of everyday life was gradually changing. Travelling the streets, Tsai Ming-liang documented the city's rhythm and ambience, along with an overpass.
- Radically rethinking the tired talking-heads template, Tsai Ming-liang's latest digital experiment turns the human face into a subject of dramatic intrigue. Comprised of a series of portrait shots of mostly anonymous individuals (Tsai devotees will no doubt recognize his long-time muse, Lee Kang-sheng), the film shrewdly deemphasizes language while reducing context to a bare minimum. In their place, the beauty and imperfections of each face take center stage. Accompanied by Ryuichi Sakamoto's soundtrack of dynamically modulating drone frequencies, Tsai's subjects variously speak, stare, and, at one point, sleep as the camera quietly registers the weight of personal history and accumulated experience writ beautifully across every last pore and crevasse.
- Continuing his Walker series, Tsai once again captures the slow walking Lee Kang-sheng with 16 long-shots at Taiwan's Zhuangwei Sand-Dune Visitor Service Park, as a part of the exhibition curated by Tsai.
- A girl (Shiang-chyi Chen) looks for a street vendor in Taipei. But she can't find him since the Skywalk is Gone.
- Six directors each reflect on the Chinese diaspora.
- Dressed as a monk, LEE Kang-sheng walks very slowly among Taiwan's crowds. The commemorative first installment of the "Walker" series.
- A woman is wandering the upstairs shopping center above a bus terminus aimlessly, as she cannot pay for the bus ticket to travel to Muar, even though she is generously offered a ticket at a discounted price that she has enough money for.
- Tsai Ming-Liang's quiet contemplation of his indelible connection with old chairs, alongside his affecting paintings of 'Days' protagonists Lee Kang-Sheng and Anong Houngheuangsy.
- Ximending was once the trendiest area in Taipei, and it's also where Kang-sheng Lee's first film was shot. Twenty years ago, director Tsai Ming-liang asked Lee if he wanted to be in his film, and Lee's answer changed the course of his own life forever. Now Lee returns to where his career began to shoot a film about himself.
- 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.