Tsai Ming-liang
Goodbye, Dragon Inn spends a rainy night in a dying Taipei cinema; Vive L'Amour ends on a six-minute crying jag. Tsai has spent thirty years filming loneliness, water and Lee Kang-sheng's face, and the patience pays.
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To Each His Own Cinema
Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.
Defining films
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Both conjure cinema from heat, humidity, and profound stillness, the everyday transformed into meditation on time, memory, and invisible desires.
Twin architects of Taiwanese cinema, one mythologizing the past, one documenting the present's slow dissolution into melancholy.
Southeast Asian slow cinema visionaries, both create durational epics where time itself becomes the subject, and waiting is the only plot.
Both use minimalism and long duration as instruments of emotional violence, cinema that withholds comfort and forces confrontation with absence.
