Diary of a Young Boy

This is the title of Tsai Ming-liang’s new film. There isn’t a lot of information out there. What I could find was that the film is in post-production, and that the distribution rights are held by Urban Distribution International. So, we will have a chance to see it eventually!

A short synopsis from their website:

“A father and his two young kids are looking for a Noah’s Ark to survive in a society that madly over-consumes.”

It looks intriguing to me. There is a (slow) critique of society included again. I’ll keep my eyes open for possible screenings!

Tsai Ming-Liang – Visage (2009)

Let us recall some of the characteristics that are usually associated with Slow Cinema; unknown actors / actresses, tendency to frame characters in medium or long shots, little dialogue, if any. Naturally, there are always exceptions to the rule, and Tsai Ming-liang’s Visage (2009, watch the trailer here) demonstrates that you can slightly alter these characteristics without compromising the actual nature of slow film.

As with every slow film, Visage is difficult to sum up. I could say, in brief, that it is about a Malay director shooting a film in France. It could even be an homage to Truffaut, whose films have greatly influenced Liang. But the real interest is not so much the story. The film’s strengths lie, as usual, in the cinematography, the banal, often ridiculous incidents, and in the scenes, which often cause a WTF in my head. Visage is by all means a typical Tsai Ming-liang film.

Yet, this films make me question if the characteristics we researchers have come up with, are necessary for a slow film. What’s different about Visage? As the name (Face) suggests the focus lies in faces, which are shown in close-up. It is rare that close-up shots are used in slow films (hence the idea of painting), but here it comes as natural as in any other film. Not surprisingly, it feels more intense, more intimate. We’re closer to the character and can decipher his or her facial expressions. I would call it a new dimension in the art of Slow Cinema.

Also, Liang makes use of famous French actors and personalities. Laetitia Casta plays the Star, Jean-Pierre Léaud the King (he played Antoine in The 400 Blows by Truffaut), Fanny Ardent plays both the producer and the Queen. And this is not the end of the list of French actors. All three, however, are ‘popular’ personalities, and yet, to my surprise, they did a wonderful job in this slow film.

True, they talk more than the Malaysian actors, hence the aspect of little dialogue is only partly valid here. Don’t get me wrong, it’s nevertheless an almost silent film. But, proportionally, there’s more dialogue amongst the French actors than amongst the other half on set.

Despite diverting away from his usual concept, if only slightly, Liang, one of my favourites out there, demonstrates with Visage that it can be unhelpful to think too much in terms of definitions. There’s a lot more to the film, so updates might follow in the course of my research.

Tsai Ming-liang – Walker

After films such as I don’t want to sleep aloneThe Wayward Cloud, and What Time is it there? [I apologise for this trailer, it’s the only one I could find and it’s Hollywoodian advertising of a slow film…outch!], Malay filmmaker Tsai Ming-liang produced a beautiful short film, commissioned by the Hong Kong International Film Festival. If I was to write a review for Walker (2012), I would write only one sentence: This short is a powerful reminder to slow down!

Tsai Ming-liang is the only slow-film director I’m aware of whose films are not set in rural areas; a characteristic that is predominant regarding the films I study at the moment. Instead, he juxtaposes the vast, bustling urban space with lonely, isolated, depressed, and empty characters. Just the type of character we often come across in slow films. What is different in Tsai Ming-liang’s films is that he makes a direct connection between the urban space and its knock-down effects on individuals.

Walker illustrates this dichotomy of fast vs slow in a striking way. Do take half an hour, and watch this beautiful film.