Stray Dogs (2013)
Stray Dogs
”A struggling father and his kids encounter a kind grocery clerk in Taipei.”
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Why watch this film?
Awarded at the Venice Film Festival in 2013, "Stray Dogs" could be described as Taiwanese filmmaker Tsai Ming-liang's absolute embrace of loneliness, already a well-explored theme throughout his previous filmography, but here taken to the absolute margins of society, to follow those who live outside of it. The director begins to abandon modern reality to provide glimpses of an apocalyptic loneliness in what, at the time, was said to be his final film (it wasn't). A contemplative – and therefore, disturbing – portrayal of the most desolate indifference.
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An alcoholic man and his two young children barely survive in Taipei. They cross path with a lonely grocery clerk who might help them make a better life.
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From the same director
Rebels of the Neon God
This is the first feature film of director Tsai Ming-liang, considered one of the greatest exponents of the Second Wave of Taiwanese cinema. 'Rebels of the Neon God' is one of the most powerful cinematic debuts of the decade, a visually poetic exploration of the pessimistic future and existential emptiness of urban youth of its time. It is possibly the most accessible movie in the director's filmography, marked by contemplation, acerbic irony and the anguish of a country undergoing a trembling transformation.
Vive L'Amour
Directed by Tsai Ming-liang ("Rebels of the Neon God"), "Viva el Amor" (“Vive L'Amour”) is the winner of the 1994 Venice Film Festival Golden Lion. His second film continues on the same line of themes as its predecessor and eventually successors: exploring modern loneliness, isolation, and existential emptiness in a bittersweet world of erotica and gaps between seemingly inexorable bodies. Told with barely any dialogue but loaded with sexual desire, the film mesmerizes with an atmosphere where characters exist like ghosts in their own worlds.
The River
Winner of a Silver Bear at the 1997 Berlin Film Festival, 'The River' is the third feature film from Taiwanese filmmaker Tsai Ming-liang ('Rebels of the Neon God', 'Vive L'Amour'), and possibly his most pessimistic. The director continues his exploration of loneliness and modern anxieties, now depicting disconnection and miscommunication, repressed sexuality and both physical and spiritual pain. It's a bittersweet and contemplative tale of lives adrift in polluted rivers.
The Hole
Taiwanese filmmaker Tsai Ming-liang's filmography was already notable for its contemplative explorations of solitude, marginalization, eroticism, and existential emptiness in the modern world, in movies like "Viva el Amor" and "El Río." However, with "The Hole," the filmmaker took these themes to a new - and peculiar - level. Selected at the 1998 Cannes Film Festival - where it won the International Federation of Film Critics (FIPRESCI) Award - this movie stands out for its almost absolute absurdity, but when executed as a musical, such absurdity escalates to the plane of acid surrealism. It is a strange mix of humor and melancholy whose idiosyncrasy has no equal, and which would see its stylistic successor in "The Wandering Cloud" years later.
What Time Is It There?
The already remarkable filmography of Tsai Ming-liang (‘The Hole’, ‘Rebels of the Neon God’) includes, in his fifth film, the fetish actor of the French New Wave, Jean-Pierre Léaud (‘The 400 Blows’). In ‘What Time Is It There?’, the director wanders between Taiwan and France, melancholic tragedy and acidic comedy, to once again explore loneliness, but also the desire for belonging and connection frustrated by distance and time. The nature of the latter, specifically, obsesses the director and the protagonist (again Lee Kang-sheng), in a meditation on its passing and what it drags with it.
The Wayward Cloud
With "The Wandering Cloud" (more commonly known among the Hispanic audience, for obvious reasons, as "The Taste of the Watermelon"), Taiwanese filmmaker Tsai Ming-liang revisits the aesthetic explosion of the musical that he had previously experimented with in "The Hole", while reuniting two characters from the director's previous filmography, Hsiao-kang and Shiang-chyi (who meet in "What Time Is It There?"), performed by the actor and actress fetish of the director, Lee Kang-sheng and Chen Shiang-chyi. It is an unusual and eccentric film, for presenting such a cheerful energy as a counterpoint to the filmmaker's thematic interests, such as communication breakdown and loneliness. Here, in this case, it is the open expression of sexuality as resistance to the existential and spiritual void of modernity, metaphorically expressed in the form of a drought that drives the population of Taipei to substitute water for watermelons. Selected at the 2005 Berlin Film Festival, where it received a Silver Bear and the Prize of the International Federation of Cinematographic Press (FIPRESCI).
I Don't Want to Sleep Alone
After the disturbing musical eccentricities of "The Drift Cloud" (or "The Taste of the Watermelon"), Taiwanese filmmaker Tsai Ming-Liang returns to a more "conventional" drama (or whatever that means for his filmography) with "I Don't Want to Sleep Alone", which features his favorite actor, Lee Kang-sheng, in a dual role. Selected at the 2006 Venice International Film Festival, the movie maintains the contemplative pace and visual repetition typical of the filmmaker, in a new exploration of loneliness and longing for belonging or, at least, being accompanied in the passing of time.
Face
It is a musical film directed by Tsai Ming-liang commissioned by the Louvre Museum and, in some way, it could be his '8½', as it explores (among other things) the process of filmmaking through the story of a Taiwanese filmmaker (played by his favorite actor, Lee Kang-sheng) who travels to France to make a movie at the Louvre, based on the myth of Salome. 'Rostro' ('Visage') is also inspired by the cinema of François Truffaut and, in fact, includes in its cast actors who worked with him, such as Jean-Pierre Léaud ('The 400 Blows') and Jeanne Moreau ('Jules et Jim'). It is perhaps, both, the most grandiloquent and beautiful film of the director, but also the most impenetrable for those who are not his avid followers. Selected at the Cannes Festival in 2009.
Days
Winner of the Teddy Award at the Berlin Film Festival 2020 (and selected in other international festivals that year), ‘Days’ captures the typical themes in Taiwanese director Tsai Ming-liang's filmography: isolation, urban loneliness and a longing for human contact. However, it also suggests a possibility of salvation through intimacy, the only beauty that can deny the darkness of an existential void. As beautiful as it is sordid, it is certainly a filmmaker in absolute control of his unique style.
Goodbye, Dragon Inn
Selected at the 2003 Venice Film Festival -where it deserved the International Federation of Film Critics (FIPRESCI) award- 'Goodbye, Dragon Inn' is a contemplative ode to the experience of cinema itself: the act of watching a movie, the people, even people through a movie, life itself and memory, too. Defined by long takes, sparse dialogue, almost no camera movements and the idiosyncratic humor typical of director Tsai Ming-liang ('The Hole', 'What Time Is It There?'), the film also touches on several of the thematic axes in his filmography, such as isolation, distance, and the losses that come with the passing of time.
The Night
The Chinese-Malaysian filmmaker Tsai Ming-liang ("Goodbye, Dragon Inn") is a master of contemplative cinema, exploring themes such as marginalization, loneliness and repression. At first, these themes may not seem very obvious in 'Liang Ye Bu Neng Liu', whose title evokes almost everything we see: one night in 2019 in Hong Kong, filmed by the filmmaker walking through its streets. Yet, there are small everyday dramas that reveal themselves in its stillness, revealing the beauty of the city's true essence to those who accept the invitation to look with patience and an open heart.
Drama
Doi Boy
Sorn, an ethnic Shan sex worker, copes with his bitter reality in Chiang Mai, Thailand by imagining himself in his clients 'lives. He is drawn into a complex relationship with one client, an investigator probing a political activist, even as he tries to build a future of his own as a refugee far from home.
Elena Knows
Elene (Mercedes Morán) searches for the person responsible for her daughter Rita's sudden death. Unable to get answers that help her understand what happened, she takes on the investigation herself. Despite the progression of the Parkinson's disease she suffers from, she embarks on a train journey from the suburb to the capital, seeking help from an old friend of her daughter. This is where filmmaker Anahí Berneri (Alanis) makes room for Morán (Neruda) to have a true tour de force on screen, embracing the film for herself—a challenging responsibility that works. It's a drama with touches of a thriller that leaves nothing behind and, in the end, succeeds in bringing emotion and suspense in good measures.
How to Have Sex
Selected in the "Un Certain Regard" section at the 2023 Cannes Film Festival, 'How to Have Sex' is the powerful debut from British filmmaker Molly Manning Walker, and on the surface, it might seem like just another coming-of-age movie. The plot follows a group of British teenagers who go on vacation to Greece, in what was supposed to be the best summer of their lives. However, the script (also written by Manning Walker) subtly brushes against horror conventions to explore and question the intricacies of sexual freedom and consent. It's the kind of film that leaves you thinking long after the credits have rolled.
