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2007/05/09

馬來西亞夜未眠-黑眼圈5/9在美上映

 I Don't Want to Sleep Alone
Written and directed by Tsai Ming-liang

Strand Releasing
Opens May 9, IFC Center


黑眼圈 5/9 於美國上映,以下為村聲(village voice)的報導

蔡明亮返鄉之作
by J.Hoberman
村聲週報
(Village Voice)

這部電影像一篇溫柔的都市樂章﹐雖然比較接近芭蕾舞蹈表演多過於戲劇演出﹐卻是蔡明亮歷來最優美﹐最自然的作品﹐成功地營造出當地豐富﹑潮濕且充滿汗臭味的氣氛。故事劇情帶了點寓言的意味﹐加上一場神秘的結尾鏡頭﹐讓主角和他的兩個愛人像瓶塞一樣無助地漂浮在茫茫大海中。


 

indieWIRE 影評

by Michael Koresky (May 8, 2007)

蔡明亮以完美的靜態畫面構圖與節奏催眠著觀眾的同時﹐也讓觀眾對此靜態產生積極的思考﹐不愧是當今影壇上最傑出的影象敘事風格家之一。他不依賴對白﹐卻能讓影片中人物的故事﹑生命與他們的世界透過影片呼吸。你往往得花些時間讓你的感官適應他獨特的構圖風格。他的電影畫面往往看似空洞﹐卻又充滿生命力。他讓我們自由的在銀幕上尋找動作﹑色彩或熟悉的感覺﹔給我們足夠的時間去猜測﹑解讀與消化他的動機﹐觀察窗外的陽光如何慢慢的改變﹐注意銀幕的框邊是否有人物會突然出現。他這樣要求觀眾不但是對觀眾的一種尊敬﹐也同時讓觀眾重得生機﹐睜大眼睛觀察和思考。
 

SLEEP ALONE IN MALYSIA

Tsai Ming-liang's goes home

by J. HOBERMAN

May 8th, 2007 4:16 PM

 I don't want to sleep alone
Written and directed by Tsai Ming-liang
Strand Releasing
Opens May 9, IFC Center


 
I Don't Want to Sleep Alone

Written and directed by Tsai Ming-liang
Strand Releasing
Opens May 9, IFC Center

 

Led by a magic flute that not all can hear, avant-pop marches on: I Don't Want to Sleep Alone, Tsai Ming-liang's contribution to the same "New Crowned Hope" Mozart festival that underwrote Apichatpong Weerasethakul's Syndromes and a Century and Bahman Ghobadi's Half Moon, is an enigmatic, largely wordless ritual performed ov
er the often comatose body of the filmmaker's alter ego, Lee Kang-sheng.
 

An axiomatic presence in Tsai's cinema ever since Rebels of the Neon God established him as the most perversely minimal of young Taiwanese directors, Lee was last seen as the watermelon-ravishing porn-star protag of The Wayward Cloud. There, he barely seemed a character. Here, his blankness is compounded—he plays two manifestations of the same person, identified in the credits as Paralyzed Guy and Homeless Guy. (Or perhaps it's the same Guy simultaneously occupying several temporal planes.) As usual, Lee is the universal object of desire and, as always, he's acting in his own silent-movie universe.
 The Paralyzed Guy is introduced, lying in a hospital bed, perhaps listening to Mozart, as the Homeless Guy wanders through the streets of Kuala Lumpur, getting himself beat up when he inexplicably tries to hustle a gang of hustlers and then getting himself rescued from the pavement by a Bangladeshi guest worker. Tsai's eighth feature is his first to have been shot in his native Malaysia and, stylized as it is, it draws substantial human interest from Kuala Lumpur's urban locations—most spectacularly, a vast, flooded construction site.
 
For much of the movie, both Guys are tenderly nursed but, just when it seems as though Lee will sleep—alone and otherwise—through these languorous proceedings, his Homeless incarnation is up and about, hanging around a late-night noodle joint, eyeing the young waitress (Chen Shiang-Chyi, another Tsai regular). As this is a Tsai picture, sex inches ever closer—the PG's catatonic gaze notwithstanding. So does urban disaster, in the form
cof a mysterious haze somehow connected (or suspected of being connected) to the city's multi-ethnic foreign workers. Wearing surgical masks, the HG and the waitress grope and cough as they desperately suck face. 
     Albeit closer to ballet than drama, this urban nocturne is one of Tsai's most beautiful and naturalistic films—at least in terms of its rich, humid, almost viscous ambience. The narrative, however, is pure fable—complete with a mysterious ending that leaves the protagonist and his lovers bobbing like a cork on a sea of chaos.



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