Tsai Ming-liang is my favorite (anti)filmmaker of all time.
His approach towards films is one I’m yet to see an overt inspiration from or replicated by.
TML’s films work on rhythm, on atmosphere, on structures and fractures, on a strange amalgamation of engagement and disengagement. Essentially, his films are an output of momentum and not moments. Although TML’s films are brimmed with outstanding moments- the moments are such because what preceded them and what will succeed, not singularly, rather holistically. Everything is fitted in an ironic fragmented quasi-structure. He just knows how to formulate memorable, irreproachable experiences.
Sighhhh Ming-liang films make’s one appreciate the deformed tiles in our homes, welcome the broken walls in buildings, have an off shoot friendly…
Tsai Ming-liang is my favorite (anti)filmmaker of all time.
His approach towards films is one I’m yet to see an overt inspiration from or replicated by.
TML’s films work on rhythm, on atmosphere, on structures and fractures, on a strange amalgamation of engagement and disengagement. Essentially, his films are an output of momentum and not moments. Although TML’s films are brimmed with outstanding moments- the moments are such because what preceded them and what will succeed, not singularly, rather holistically. Everything is fitted in an ironic fragmented quasi-structure. He just knows how to formulate memorable, irreproachable experiences.
Sighhhh Ming-liang films make’s one appreciate the deformed tiles in our homes, welcome the broken walls in buildings, have an off shoot friendly conversation with cockroaches, acknowledge that a water melon is red, alive and fully aware, makes sure one salivates at hot noodles and smoking rice.
Low-key, water peaked in the world of Tsai Ming-liang. Never did it ever have the privilege to look this important and so fuckin’ delicious.
TML is that kinda guy though- An elite
A specialist in film language, with a grammar and dialect of his own. The TML world is featured with the lifelessness of the living and breathing life into the abiotic non livings around us- Water, Phone booth, Melons, Walls, Clocks, etc all of which come to life in TML films.
From mechanical vivaciousness in sexual explorations and consumption of food with perpetual wholeheartedness and intimacy. Tsai Ming-liang’s done it all.
Anything that Tsai Ming-liang tries, Tsai Ming-liang can do.
A gigantic side note - Every TML ending could make a case for the greatest ending in cinema history.
This might as well be my top 10 favourite films of all dammd time.
1. I Don’t Want to Sleep Alone(2006) - 5/5
2. Stray Dogs(2013) - 5/5
3. Goodbye, Dragon Inn(2003) - 5/5
4. Days(2020) - 5/5
5. The Hole(1998) - 5/5
6. Vive L’Amour(1994) - 5/5
7. The Wayward Cloud(2005) - 5/5
8. What Time is it There(2001) - 5/5
9. Rebels of the Neon God(1992) - 5/5
10. The River(1997) - 5/5
Not a foot wrong, TML is a supreme baller of the game.
