BAMPFA welcomes director Tsai Ming-liang and actor Lee Kang-sheng to discuss seven of their films, including Vive l’amour; The Hole; Goodbye, Dragon Inn; What Time Is It There?; and Stray Dogs.
Read full description4K Digital Restoration
King Hu’s legendary Dragon Inn merges swordplay, melodrama, history, and Beijing Opera traditions with thrilling results. Viewed obliquely in Tsai Ming-liang’s Goodbye, Dragon Inn, it suggests the transient pleasures of cinephilia.
A disaffected youth and his friends wander through a neon Taipei in Tsai Ming-liang’s first feature, “a near-masterpiece” (Chicago Reader). “Inaugurates the filmmaker’s multi-movie study of urban alienation not with showoff chops but quiet, enduring compassion” (Village Voice).
Three lost souls—and a very alluring empty apartment—form an unlikely love quadrangle in Tsai Ming-liang’s Venice-winning follow-up to Rebels of the Neon God. Here “Tsai began to emerge as one of our great poets of modern alienation” (Slant).
In Taipei it’s the end of the world as we know it, thanks to a mysterious plague, but even the most alienated urbanite is dreaming of 1950s movie musicals in Tsai Ming-liang’s delirious exploration of modern isolation, quarantines, and dance numbers.
35mm Archival Print
A Taipei street vendor sets every clock to French time after meeting a young woman on her way to Paris in this endearing examination of loneliness, mourning, and time’s passage. “A film of surprise and wonder” (Rolling Stone).
A crumbling old movie theater may be screening a martial arts film on-screen, but off-screen its patrons dream of other things in Tsai Ming-liang’s “weird, funny, melancholy tribute to movies and movie-going” (Chicago Tribune).
An alcoholic single father and his two children flit through the margins of contemporary Taipei in Tsai Ming-liang’s remarkable work of social critique, long-take experimentalism, and asphalt surrealism, in which “every sequence exerts an almost telepathic grip” (The Telegraph).
Red-robed and barefoot, the actor Lee Kang-sheng walks along the black sand beaches and among the concrete structures of the Zhuangwei Dune Visitor Service Park on Taiwan’s northeastern coast.
Two men separated by age and nationality—a middle-aged Taiwanese with a bad neck and a younger Lao immigrant in Thailand—go about their daily lives in this “ravishing, wordless story of urban loneliness” (Screen Daily).