By Chlotrudis Independent Film Society
Rating: 3.5 cats
Director: Tsai Ming-liang
Original language title: Na ri xia wu
Country: taiwan
Year: 2016
Running time: 137
IMDB: http://www.imdb.com/title/tt4914552/combined
Bruce says: “A prerequisite to seeing this film is knowledge of Tsai Ming-laing’s films and his muse and leading man in all of his films, Lee Kang-sheng. The two men are lovers, spiritually and emotionally. They work together and live together. Lee, however, is straight and Tsai is gay. Both talk openly about their ill-fated romances. Lee, an extraordinary introvert, lets Tsai do most of the talking. Fascinating but repetitive, this film is nothing more than a filmed discussion of two people discussing a fascinating, complex relationship. That should be enough for some, unlikely enough for many. 3 cats”
Michael says: “I’ve long been fascinated by the work of Malaysian-born, Taiwanese-based filmmaker Tsai Ming-liang, ever since I caught his breakthrough film, WHAT TIME IS IT THERE?, one of my all-time favorites. His fascinating relationship with his muse, the actor Lee Kang-shen, who has appeared in all of his films is thoroughly, yet cryptically explored in this intriguing documentary, which is essentially a two hour and fifteen minute conversation between the two. As becomes quickly evident, Tsai’s impish, chatterbox appears the opposite counterpoint to Lee’s ever-practical, man of few words. Seated on an upper floor of a home they share, with crumbling walls overlooking a lush, verdant, expansive valley, the two remain stationary, sipping tea, enjoying, or perhaps enduring lengthy silences, between explorations of the way they make movies, their backgrounds, their relationship, their fears and what the future may hold for them. Tsai takes the opportunity to ask Lee deeply personal questions even as he uses the opportunity tell Lee of the impact the actor has had on his life, and the deep love Tsai feels for him. The relationship is a unique and complex one, with Tsai being a gay man, and Lee being straight, and the love they share for each other an interesting blend of married couple, father/son, and closest friend. Tsai starts by sharing his fear that his life is nearing an end, and that he has no real interest in making movies anymore, unless they are for Lee. When asked how he enjoys working for other directors, Lee amusingly admits that it’s nice not to have to play a gay man for a change. The life they share is a quiet, tranquil one, and it perhaps mirrors the lives of some of Tsai’s on-screen characters. The film was shot shortly after Tsai directed Lee on a one-man stage show with no dialog about a monk. I’m not sure what it is about Tsai’s films, but I find it so easy to just sink into their rhythm and pace and let them wash over me, even in an extended, deep but halting conversation between two friends. 4 cats”