This was my second film at the London Film Festival this year, and while I do not generally post reviews of films I have not fully seen, sadly I was thwarted a little by this new world of online film festivals. I cannot speak of the ending because my session “expired” 20 minutes from the end, for reasons that elude me (I think there was only a limited time to watch once you click play, but I couldn’t find it anywhere on the site). Still, I think enough was clear from the first 105 minutes, and I will certainly be seeking out future opportunities to see it (hopefully on a big screen some day given its typically Tsai qualities of beautiful stillness).
Director Tsai, especially in recent years (such as in the remarkable 2013 film Stray Dogs), has been slowly stripping back his cinema more and more, and this film, although a narrative feature, is almost abstract in its rhythms, like his ‘Walker’ series of short films or documentaries like Your Face (2018). It’s “intentionally unsubtitled”, though the only words we hear are mixed very much in the background (and aren’t heard until half an hour into the film). The film shows two men going about their days (one of whom is of course Tsai’s partner and regular collaborator Lee Kang-sheng), a slow accretion of details of two different lives. These two come together (literally) about two-thirds of the way in, and then drift apart again. The images are beautiful, dark, sometimes completely empty and still, and often water-laden (of course, because it’s Tsai), but it’s captivating and shows his continued mastery of the ‘slow cinema’ form.
Director/Writer Tsai Ming-liang 蔡明亮; Cinematographer Chang Jhong-yuan 張鍾元; Starring Lee Kang-sheng 李康生, Anong Houngheuangsy 亞儂弘尚希; Length 127 minutes.
Seen at home (BFI Player streaming), London, Friday 9 October 2020.