Gus Van Sant’s Paranoid Park, Lee Kang-sheng’s Help Me Eros, Nanouk Leopold’s Wolfsbergen, and Alessandro Capone’s L’Amour Cache.
The Skywalk is Gone is like a little gift to all of us who have followed Tsai’s career, and I’m thrilled that Wellspring included it on the DVD release of Goodbye, Dragon Inn.
In his on-going reportage from the Toronto film festival, J. Robert Parks has posted a full-length review of Tsai’s Good Bye, Dragon Inn.
This essay was orignally published at Senses of Cinema.
All three characters in What Time is It There? represent Tarkovsky’s ideal — those who are “outwardly static, but inwardly charged with energy by an overriding passion” — and that passion alone is reason enough to watch.
The first cut in Good Men, Good Women establishes several dichotomies that, over the next 100 minutes, are beautifully dismantled for explicitly political purposes.
Walker Percy characterizes the 20th century American novel as a recurring investigation of “the essential loneliness of man.” It’s hardly an original conceit, but I was reminded of it constantly yesterday as I watched Vive L’Amour.