Si tu poses une go pro sur la tête d'un mec random dans le guang dong ça donne ça (pas loin de ronfler à des moments)

Si tu poses une go pro sur la tête d'un mec random dans le guang dong ça donne ça (pas loin de ronfler à des moments)

While I'm only two films into Hou's filmography, both films have left me in the same state I find myself in after watching a Bela Tarr film or a Weerasethakul film. Confusion is probably the wrong word but that's what I'm going with for now. Hou's form is so hypnotic, the state he is able to put me in is indescribable

It really sucks that I had the absolute worst subtitles for this, lines were skipped over and it was very hard for me to understand what was going on. The GOOD thing about that is, Hou doesn't seem to be fully interested in telling us what you would normally expect in a crime film. Instead the emphasis felt to be on what lies outside of these people's lives. They are wrapped in all of these gang activities and the main character, Kao, wants a way out; but the answer is simple, the way out is right in front of you. During all of the transition scenes, whether we're following a train or riding on motorcycles, nature completely surrounds the view of the camera.

His out is right there, he's so close, but he can't see it, he's blinded by the trouble his brother has been causing, he needs something to set him free

While I'm only two films into Hou's filmography, both films have left me in the same state I find myself in after watching a Bela Tarr film or a Weerasethakul film. Confusion is probably the wrong word but that's what I'm going with for now. Hou's form is so hypnotic, the state he is able to put me in is indescribable

It really sucks that I had the absolute worst subtitles for this, lines were skipped over and it was very hard for me to understand what was going on. The GOOD thing about that is, Hou doesn't seem to be fully interested in telling us what you would normally expect in a crime film. Instead the emphasis felt to be on what lies outside of these people's lives. They are wrapped in all of these gang activities and the main character, Kao, wants a way out; but the answer is simple, the way out is right in front of you. During all of the transition scenes, whether we're following a train or riding on motorcycles, nature completely surrounds the view of the camera.

His out is right there, he's so close, but he can't see it, he's blinded by the trouble his brother has been causing, he needs something to set him free

I think this is a well crafted and pointed exploration of exactly one theme which is never variated on. I am not sure about the worth of a movie only about existing in modern society consisting of waiting for things to happen without any unique characters, formal gambits, or subtext. First Hou and I’m still very excited to see more bc, even if I don’t love this film, the man is clearly a master with the camera. Fully aware that I could be missing something and this may turn into a lot more when I have acclimated to his style and themes.

1996 Ranked

I think this is a well crafted and pointed exploration of exactly one theme which is never variated on. I am not sure about the worth of a movie only about existing in modern society consisting of waiting for things to happen without any unique characters, formal gambits, or subtext. First Hou and I’m still very excited to see more bc, even if I don’t love this film, the man is clearly a master with the camera. Fully aware that I could be missing something and this may turn into a lot more when I have acclimated to his style and themes.

1996 Ranked

Terminando de assistir em sequencia filmes do Edward Yang e do Hou hsiao-Hsien e fica clara a habilidade compartilhada entre os dois de fazerem filmes que unem o contexto vivido pelo personagem com sua subjetividade. Não sei se é o costume com o cinema americano que faz essa ponte meio-indivíduo de forma extremista/determinista, mas é incrível ver um filme que retrate a realidade social de uma cultura sem apagar a individualidade de seus personagens e, consequentemente, sua própria história.

Terminando de assistir em sequencia filmes do Edward Yang e do Hou hsiao-Hsien e fica clara a habilidade compartilhada entre os dois de fazerem filmes que unem o contexto vivido pelo personagem com sua subjetividade. Não sei se é o costume com o cinema americano que faz essa ponte meio-indivíduo de forma extremista/determinista, mas é incrível ver um filme que retrate a realidade social de uma cultura sem apagar a individualidade de seus personagens e, consequentemente, sua própria história.