Patrick R

The Asian Film Thread

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Didn't end up wanting to finish The TIme To Live and The Time To Die (too similar to Dust in the Wind, and I wasn't in the mood for it), so I'm calling it quits on Hou Hsiao-hsien but keeping things in Taiwan by moving to Edward Yang and Tsai Ming-Liang.

 

 

I dipped my toes into Edward Yang (ew) with Taipei Story and my reaction to it was actually quite like my reaction the first time I saw In The Mood For Love, which is to say I found the experience so overwhelming, so ingeniously directed on a scene by scene basis, and so sad that I couldn't really piece all my feelings on it together too coherently. Made me cry, though! The title "Taipei Story" was apparently invented for English audiences to evoke Ozu's Tokyo Story, and while there aren't that many formal similarities this has a similar concern with familial obligation and an anxiety about a nation's transition (in this case it's the repeal of martial law that Taiwan was under for over 38 years). The latter is a touchstone of the 80's Hou Hsiao-hsien films as well. This wikipedia article sums up the Taiwanese New-Wave pretty well and was helpful for contextualizing both Yang and Hou Hsiao-hsien

 

I'll probably end up rewatching it some time this year, maybe after I've seen more Yang. But it's by far the best movie I've seen as a result of this exercise.

 

 

 

Tsai Ming-Liang's The Hole was another great film. I was already familiar with Tsai Ming-Liang's work and adore his strange sensibility. He tells stories of loneliness and longing, but with an eye for incredible environments and an odd, surreal (and queer?*) sense of humor. The Hole takes place in the then-very near future of 2000 where parts of Taipei have fallen under a quarantine over an odd illness known as "Taipei Fever" that makes people act like cockroaches. Most the entire film takes place in a single apartment complex where the only two people who haven't evacuated the area live in apartments located on top of each other, with a hole in the floor/ceiling connecting them. It's all squalid and most the film focuses on them dealing with the omnipresent rainfall and their apartments leaking and falling apart. It's a compelling take on a sort of apocalyptic sci-fi film, but it's clearly intended to be metaphorical (a metaphor for what is open to the viewer) and on that level there's a shot towards the end that was one of the most beautiful and heart-rending images I've ever seen.

 

An odd thing about The Hole is that it's lonely arthouse brooding is periodically interrupted by peppy musical numbers (like the one I linked to above) set to songs by Chinese actor and singer Grace Chang, all set in the same rundown apartment building. The meaning of these is open to interpretation as well, but they work wonders to vary the tone, provide ironic counterpoint and tap into an emotional undercurrent that's mostly understated. The Hole is a great example of what makes Tsai Ming-Liang's work so compelling and is one of his best films.

 

 

I also watched Fist of Fury today. The first Hong Kong martial arts films I ever saw were The Big Boss and Fist of Fury (via a cheap Bruce Lee dvd collection under their respective English-language titles of Fist of Fury and The Chinese Connection) and while the DVDs looked and sounded atrocious and the films themselves were kind of junky and poorly constructed, Bruce Lee is a legend for a reason. As a screen presence he's riveting, and while I've grown to prefer the more elaborate choreography of wuxia films, it's not hard to see why his hard-hitting and realistic fight choreography was such a sensation. HE'S SO FAST.

 

The fight scene I linked above is one of my favorites ever, perfectly shot and edited for maximum "realism" and demonstration of Bruce Lee's power. He plays such an indestructible force of nature in these movies, so the fact that he really appears to be reacting to multiple assailants coming on him at the same time sells the action so well. Nothing else in the movie can top this first fight scene, but it's watchable enough and it was nice to finally see a nice-looking transfer of it.

 

*There is something I connect to on a very deep level with Tsai Ming-Liang's work and when I found out he was gay it sort of made a lot of pieces slide into place for me. I couldn't exactly put a finger on what is "gay" about his films (the musical numbers in The Hole are by far the campiest moments I've seen in any of his films, which tend to be about straight people and not break reality so freely) but I definitely feel like they speak to me as a queer person.

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A lot of great stuff has been covered!

 

All Japanese: 

 

One of my favorite Kurosawa movies, not yet mentioned is Red Beard. I'll second High & Low as well. Basically everything he ever made is worth the watch.

 

Tetso the Iron Man: landmark Cronenbergian  body horror movie

 

The punk films of Sogo Ishii. Two cool ones are:

Burst City - kind of post apocalyptic, low plot, Warriors vibe. Exceptional footage of 1982 Tokyo punk/hardcore bands especially THE STALIN featuring the original brick throwing madmen.

Electric Dragon 80,000V - 2001 movie starring Tadanobo Asana (Kikihara in Ichi the Killer). Kind of like a Godzilla or comic book movie of two electric throwing dudes having a showdown.  Ishii & Asano also made a cool blown apart garagey punk band March 1.67 to support the movie.

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Burst City sounds like a must-see.

 

I saw two films today with nothing in common. The first was Porco Rosso, on jennegatron's recommendation and she was absolutely right because that movie's great. I think the pulp adventure sensibility of Porco Rosso works well to counter-act what often feels like an acute sentimentality I often feel with Miyazaki's work. It tackles a lot of the same ground he'd later cover with The Wind Rises, particularly the tension between the purity and joy of flight and the corrupting nature of war, but I think it's much better here. The plot is very 1940's Hollywood and the eponymous lead reminds me of Humphrey Bogart, if Humphrey Bogart was an anthropomorphized pig. That it's never explained how Porco, a former human, became a pig and his curse is never relevant to the plot was a welcome surprise. I thought for sure he'd turn back human when he found love or when he started acting less selfishly but his form mostly appears to be a symbol for his trauma. The art direction is great but it's a Ghibli movie, you could have guessed that.

 

 

 

On the other hand, I also watched Zinda Laash AKA The Living Corpse AKA Dracula in Pakistan. I'm a really big fan of the 1958 English film Horror of Dracula so watching this was a real trip, as Zinda Laash is basically a scene by scene remake of it. There are liberties taken in order to move the action from 19th century Europe to contemporary (1967) Pakistan (here the Dracula character is just a professor who turns himself into a vampire) but for the most part this is such a direct rip-off that most scenes are even staged the same way, just in black and white, with a much smaller budget, and with Urdu musical numbers. They even got a guy who looks just like Christopher Lee, but it's all the weird little differences that make it so interesting. Horror of Dracula came from the famous Hammer Studios, who grounded a lot of their horror films in a very Judeo-Christian sense of mythology. Obviously, taking place in Pakistan, there are no crosses in Zinda Laash, no prayers, and not even a lot of traditional vampire trappings like stakes and garlic. Just knives and sexy surf rock dance numbers to represent the seductive power of female vampires. It's not a great movie but at one point Not-Dracula tosses a baby to his female vampire follower and shouts "Feast on this!" so it's some kind of experience. If you aren't a die-hard Horror of Dracula fan, though, you probably won't find it as interesting as I did.

 

 

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For some reason I had put off seeing Porco Rosso, when I was watching a lot of Ghibli movies and other anime some years ago. I watched all other Miyazaki movies that he directed solo. But I finally saw it now and it really is one of the best. For some reason in this film more than in any of the others, I really noticed the incredible craftsmanship and how cinematic it feels. Maybe because it had less supernatural elements than most of the others. Also The Wind Rises has been growing on me more and more, although I still think it is a bit too long. But now I think I might pick Porco Rosso instead of The Wind Rises if it came down to picking one of them. But my favourite Miyazaki films are probably still the fantastical ones, like Nausicaä, Spirited Away, Kiki's Delivery Service and Totoro.

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Does anyone know ways to legitimately (or non-) gain access to less known Asian movies with English subs? I was looking for movies from countries which's films I haven't seen yet, like Pakistan and Bangladesh for example, but it seems it's not that easy to find them. I did find some torrents but they didn't have English subs and were basically recorded from TV with horrible audio and huge logos in corners.

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I took a break from this to prep for an upcoming commentary track I'll be recording on George Romero's film Martin, but I have two quick ones to share.

 

 

 

Mahjong I watched back in mid-February and, after the sublimity of Yang's Taipei Story, it was a bit of a let down. This is only partially the film's fault. It was via a very old DVD release (possibly a bootleg) and the subtitle track was awful, with nearly every line featuring some kind of broken or nonsensical English. As always in these situations I try to give the film the benefit of the doubt and assume there's nuance I'm missing. On the other hand it also features a kind of sprawling directionless "young adult ennui dovetails into criminal behavior" plot that at this point has become a laughable cliche of Chinese cinema for me. And it doesn't help that there's several very bad English language performances that stick out like a sore thumb. There's a number of small moments throughout the film that I found interesting and moving but nothing that compares to Taipei Story or the reputation of Yang's other work.

 

 

On the other hand, I absolutely MELTED over Shin Godzilla. Earlier in this thread I hypothesized that Godzilla movies just weren't for me and while Shin Godzilla is too much of outlier to have proved me wrong, exactly, it does at least point towards what I desired: ruthless disaster response procedural minutia. So I guess that means I'm a bit dull. At any rate, Shin Godzilla is almost experimental in how it withholds the traditional thrills one associates with kaiju films, mostly eschewing massive urban destruction (though it's present) in favor of exploring Japanese bureaucracy. Committees, chains of commands, and endless departments of international governments all butt heads on the right response to the irrational terror that is a giant monster. I kind of knew I'd be into this sort of thing, but didn't expect to be so moved at the same time. Shin Godzilla tells a highly convincing and detailed story of red-tape and buck passing but also is able to find joy and inspiration in spontaneous collectivism and humanity's ability to solve impossible problems. I never thought I'd cry at a Godzilla movie but I also never thought there'd ever be one like this. If you are into detail driven procedurals like Zodiac or All The President's Men, I can't recommend this enough.

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I got the same copy of Mahjong and abandoned it after 10 minutes.  I've been watching more Asian films but they've mostly been Hong Kong action comedies. Me and my brother have been watching them on Saturday nights and having a lovely time.  We've decided to watch as many Sammo Hung/ Jackie Chan films as we can. Eastern Condors, Wheels on meals and Mr nice guy are great fun

 

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Most of us might know Korean director Park Chan-Wook for making Old Boy but it's actually the last in a series called the Vengeance Trilogy. I think they're unconnected stories but it's pretty interesting watching them as a sort of triptych.

He also produced Snowpiercer and directed the American set Stoker.

I saw The Wailing the other night and it was a very interesting horror film, parts of it did feel a little lost in translation and funnily enough my partner and I spent so long looking for Asian themes in the film that we overlooked a lot of obvious intended themes from more familiar cultures.

Also shoutout to The Host, I don't remember a whole lot but it was very good.

My favourite Asian director is Takashi Miike by a long shot. He's known for directing a very wide variety of films from the family friendly to the absolutely bizarre.

You might know him from Ichi the Killer, Audition, or 13 Assassins but some of his smaller movies are absolutely amazing. Lesson of the Evil was a very well put together slasher movie. Gozu is an exercise in the surreal. Izo is.. about an immortal samurai on a mission to kill God? Blade of the Immortal looks like a fun popcorn action fantasy flick.

Also I mean, I think most people have probably checked out this film at some point but I think Battle Royale is such a well put together film that it'd be a shame not to mention it.

 

Also V/H/S/2 has a really good Asian setting horror short story co-directed by Timo Tjahjanto who I think is a German born Indonesian film maker. He's one half of The Mo Brothers and together they directed Killers which looks pretty neat.

 

I haven't really kept up with many other contemporary Asian directors although I always love hearing about new horror movies, especially Korean horror. Watching Train to Busan soon, & eventually going to dive into Akira Kurosawa.

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A few months ago, my movie-buff friend had us watch The Iceman Cometh together, a Clarence Fok movie from 1989 where a Ming guard is frozen while trying to defend the emperor from assassins and resumes his hunt for the culprits when he's thawed hundreds of years later. The charm in the movie is really watching the femme fatale, played by the inimitable Maggie Cheung, guide a stiff Yuen Biao through modern life, which takes up a substantial portion of a movie otherwise bracketed by lengthy hand-to-hand fights. I was really taken with it, to my surprise, and have thought of it repeatedly in the last few weeks.

 

On 2/10/2018 at 1:10 AM, Patrick R said:

The first was Porco Rosso, on jennegatron's recommendation and she was absolutely right because that movie's great. I think the pulp adventure sensibility of Porco Rosso works well to counter-act what often feels like an acute sentimentality I often feel with Miyazaki's work. It tackles a lot of the same ground he'd later cover with The Wind Rises, particularly the tension between the purity and joy of flight and the corrupting nature of war, but I think it's much better here. The plot is very 1940's Hollywood and the eponymous lead reminds me of Humphrey Bogart, if Humphrey Bogart was an anthropomorphized pig. That it's never explained how Porco, a former human, became a pig and his curse is never relevant to the plot was a welcome surprise. I thought for sure he'd turn back human when he found love or when he started acting less selfishly but his form mostly appears to be a symbol for his trauma. The art direction is great but it's a Ghibli movie, you could have guessed that.

 

When I feel like having an argument, I tell people that Porco Rosso is my favorite Miyazaki movie. I think you're right to point out that it's Miyazaki laying down themes that he'll repeat later in The Wind Rises, but Miyazaki's tendency to repeat the themes of his early movies more pointedly in a later one has been exhibited throughout his career (Nausicaa to MononokeTotoro to Spirited Away, etc.). Porco Rosso is also really great for stating, as much as it can state, that the protagonist's affliction as a pig is a universal curse made explicit in his person, and one that can only intermittently be transcended. I don't know if it's a truism yet that early Miyazaki is the most interesting Miyazaki, but it should be (as opposed to Takahata, who has only improved with age).

 

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I always associate Kiki with Spirited Away, rather than Totoro. The self-reliance time-to-grow-up thing. On the other hand I don't think much of Totoro at all and can hardly remember what happens in it outside of giant mutating trees and cat buses. 

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5 minutes ago, Patrick R said:

I always associate Kiki with Spirited Away, rather than Totoro. The self-reliance time-to-grow-up thing. On the other hand I don't think much of Totoro at all and can hardly remember what happens in it outside of giant mutating trees and cat buses. 

 

I think of Spirited Away as part of the Totoro lineage because of the coming-of-age allegory as being coopted into a world of gods and magic to escape the trauma of adult concerns imposed on child minds, but I do agree that Kiki's disruptive model of "deciding who you are out on your won" is more in line with Chihiro in Spirited Away.

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10 hours ago, Gormongous said:

When I feel like having an argument, I tell people that Porco Rosso is my favorite Miyazaki movie.

 

I think I've already stated that I do the exact same thing. But also, I don't know what my "actual" favorite is (there are several contenders) so it might as well be true.

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On 28/03/2018 at 7:10 AM, Patrick R said:

I don't think much of Totoro at all and can hardly remember what happens in it outside of giant mutating trees and cat buses. 

That's because nothing happens in it. 

 

I do love it though. 

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A lot of great recommendations already. I don't know if they have been mentioned yet so apologies if my recommendations have already been posted,  but I would recommend Kikujiro, it is Beat Takeshi's take on comedy, and it is very special. Not sure if it is for everyone, but it is one of my favorite movies. 

Also, there is a full version of youtube at the moment:

 

 

The John Woo/Yun-Fat Chow films like A Better Tomorrow, the Killer and the (imo) best one Hard Boiled are pretty good too. I remember Bullet in the Head was alright as well but haven't seen it in a long time. 

 

Infernal Affairs, which was remade as The Departed, is in a lot of ways superior to the US version. 

 

To Live is a great movie about a Chinese family living through the changes of Chinese society before and during Communism. 

 

Somewhere Only We Know is a Chinese romcom set in Prague. I have seen about half of it so far and it looks like a decent one. It was one of the highest grossing movies in China the year it came out and kind of started a small movement of wealthy Chinese going to Prague just to get married. 

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6 hours ago, sucks2Bme said:

A lot of great recommendations already. I don't know if they have been mentioned yet so apologies if my recommendations have already been posted,  but I would recommend Kikujiro, it is Beat Takeshi's take on comedy, and it is very special. Not sure if it is for everyone, but it is one of my favorite movies.

Kikujiro is good, but I didn't personally enjoy it as much as I expected to. I want to see more of his movies, though. I only remember seeing Hana-Bi around the time it was released, and have very vague memories of it.

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I'm on a Yasuzô Masumura kick! Let's take the three I've seen chronologically!

 

 

Not that this clip is a great representation of Giants and Toys (1958) (sorry, no trailer on YouTube), a mostly non-musical satire of consumerism and western influences in the post WW2 Japan business world, but it does at least demonstrate the wild abandon of the Japanese new-wave director to put a sequence like this in an otherwise non-musical film. The material is pretty familiar with anyone who's seen Frank Tashlin comedies like Will Success Spoil Rock Hunter? or The Girl Can't Help It, a sort of light and frothy romp through the world of scheming business men, models, and corporate culture. The difference is that, this being the Japanese new-wave, this is way more political, more sexual, and more formally daring. I've read that Masumura was way more critical of Japan's economic boom than most his peers and that certainly applies here.

 

The problem is that it's a comedy in a language I don't speak. I almost never go in for foreign comedies because it's almost impossible for me to judge whether dialogue and performances are actually funny. The language barrier creates enough distance that most humor beyond physical and conceptual is totally lost on me and I actually get anxious thinking about what, if any, jokes I am missing due to these imperceptible nuances. I wonder if anyone else has this problem. 

 

(This trailer is pretty NSFW, but no actual nudity)

 

Manji (1964) starts off as the sort of forbidden erotic lesbian romance that's the basis of a great many sexploitation films (though it arrives at the scenario in an especially clever and horny way) only to quickly devolve into a mad nightmare of sexual desire and angst. Masumura's not one to tell stories about dispassionate characters and everyone in this film is basically driven insane by their need to fuck each other in increasingly elaborate and baroque arrangements of threesomes, foursomes, love contracts, and kinky ritualistic pill taking.

 

Somewhere in the hothouse melodrama is a story of navigating uncontrollable romantic needs with a straight and monogamous world outside the relationship and a series of twisted power struggles within it. It's basically The Phantom Thread but way less predictable and flat. Masumura's use of the 2.35 : 1 aspect ratio is especially striking as characters are basically never centered in the frame, always pushed out to the sides with dominating objects and bodies in the foreground. It's a genuinely great movie that takes what could be a sleazy premise and makes it way smarter and more complicated than you'd expect. A really great discovery for me.

 

(This trailer is NSFW)

 

Blind Beast (1969), on the other hand, is just sleaze. It's a beautiful looking and totally wild piece of sleaze, but the sort of meaning I was able to pull from Manji completely eluded me here. The scenario is risible from the start: a blind man, driven insane by his disability (it's basically presented to be as monstrous as possible), becomes a masseuse as a way to grope women and use his memories of their nude bodies to inspire his insane sculpture, including massive walls full of disembodied female parts (everything from legs and breasts to eyes and ears) but eventually he needs more and kidnaps a famous glamour model to be his muse.

 

There's a particularly memorable moment where he begs her to let him use her body so he can create a new noble artform expressly for the blind to elevate the disabled everywhere...while groping the 15 inch nipple of the giant nude woman statue they've both climbed on top of as a wall of giant boob sculptures hangs in the background. It's a pretty blunt and hilarious refutation of the bullshit that is the artist/muse fantasy (he's clearly just a horny psychopath, not an artist), but the movie doesn't really follow through on this thought. Instead it gets bogged down in the mechanics of her imprisonment and escape attempts for a while, only for her to eventually fall in love with him and into a downward spiral of sex and sadism that ends in gory death and dismemberment. 

 

The primary set of the blind man's art studio is incredible and I'm the sort of guy who can appreciate crazy films for their own sake, but I don't think there's much of interest for those who aren't already horror/cult film enthusiasts. Still, between this and Manji there's a definite trend in Masumura's films towards self-destructive sexual frenzy and sadism that makes me intrigued to check out more.

 

------------

Speaking of sexual frenzy and sadism, Takashi Miike! I watched Imprint, the episode of the early 00's Showtime series Masters of Horror that was directed Takashi Miike. It's basically an hour long short film (or is that just a short feature?) and infamous for being the one episode of the horror series, sold to audiences on it's no-holds barred intensity, that Showtime refused to air. For context, a previous episode of Masters of Horror featured a rat with a man's face killing a screaming baby by tearing it's throat out. Gruesome violence was basically a mandatory part of every show. But Imprint is easily takes the cake and features all the depravity and extreme violence you'd associate with Takashi Miike films like Ichi the Killer and Audition and packs it into a mere hour. It might be the most extreme thing he's done. Reportedly it was the abortion material that upset the network but you could take basically any 10 minute chunk and find something that a premium cable network could reasonably balk at. The one that made me turn away was the needles-in-the-gums torture. Dental stuff freaks me out.

 

That said, I really respond well to Miike when he's working under the time constraints of anthology horror (The Box, his segment of anthology horror film Three...Extremes, is easily one of his best movies and one of the more memorable results of the J-Horror boom) and Imprint is no exception. There's something about the combination of his deliberate pacing, his unblinking eye towards depravity and his off-beat storytelling that really works in the more reigned in format where he can't go off on endless digressions. This is the only episode of Masters of Horror I'd call genuinely scary but if you don't have a stomach for sick shit then stay far away. The only big knock I have against it is that, even though it's a Japanese production that takes place in Japan, it's completely in English and has a lot of clear non-English speakers delivering their lines phonetically. There's a way to tell the story with a minimum of subtitles but Showtime must have demanded it feature no foreign language at all and it's really awkward as a result.

 

Here's hoping the next Asian film I watch is a nice one, like Quill or something.

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Come Drink With Me is an utterly gorgeous wuxia film from legendary director King Hu. He's known for other martial arts films like A Touch of Zen and Dragon Inn and is famous for mixing arthouse influences into the martial arts genre. The story isn't unique (lone warrior, revenge, bandits, old grudges between former colleagues) but his earnest and patient approach definitely is. Hu paces Come Drink With Me like no one had ever made a revenge film before and gives the story time to actually meditate on the themes instead of just using them as an excuse for righteous violence. And the way he composes these deep frames with multiple planes of movement and orchestrate's them with the camera's movement is absolutely incredible. Basically every dolly shot in this movie is the best you've ever seen. I can't wait to see his other films.

 

Here's Ang Lee talking about King Hu:

 

 

 

 

I've included a clip from Tropical Malady above because no trailer ever does the work of Apichatpong Weerasethakul justice. His films are all about the pace and the slow steady accumulation of emotion and symbols. Tropical Malady is a diptych film. The first part is about a love affair between a small-town boy and a soldier. The second part is a folktale of a soldier being stalked by the ghost of a tiger demon in the jungle. What makes the film so beguiling is that it's not readily apparent what the two parts have to do with each other. My current working theory is that the second story is the internal emotional journey of the first story, with the glancing over-too-soon romance being represented by the soldier and tiger stalking each other in the woods. But it's not a super neat metaphor, I don't think it'd have the same power if it was. The final shot of this movie will stay with me forever.

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I think this forum is nearly dead, but I found another thread to update. I just watched 2 Tsai Ming-Liang movies in a row. The first was Vive L'Amour, which I thought was quite interesting, reminding me of Chungking Express, but that didn't always do good for it as the visuals were definitely not on par. There's stuff to like there, but I think the dramatic structure could use a lot of improvement - maybe I'm just not super compatible with Tsai Ming-Liang.

 

The Wayward Cloud, a daring movie as can already be seen from the poster. It was completely different than I expected, and I really loved the first half, and it actually reminded me of Chungking Express in a much better way than Vive L'Amour. I just loved some of the shots and scenes in this, and it was really entertaining in a way that a lot of movies aren't. But then the second half started turning this into a really misogynistic piece, with one of the worst feeling endings I've ever experienced. Just ruined a potentially great movie for me.

 

[edit] Actually it makes me think... since Tsai Ming-Liang keeps hiring the same actor (sorry, forgot the name), would it make sense to take several of his movies and make a new fan movie out of it? I feel like there are a lot of parts to like, but I can't say for any one movie of his that I like the whole thing.

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On 1/26/2018 at 4:50 PM, twmac said:

Train to Busan is a big Korean movie that is worth checking out, some good humour and likeable characters to go along with it. Mother and The Host are good shouts too.

 

Just watched Train To Busan, it was fantastic. Would make a great second half of a double bill with The Host.

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On 19/10/2018 at 11:37 PM, Ben X said:

 

Just watched Train To Busan, it was fantastic. Would make a great second half of a double bill with The Host.

 

Yeah, definitely, they have similar energetic pacing.

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