Goodbye, Dragon Inn (2003)
Goodbye, Dragon Inn
”On the last night of a historic cinema, a handful of souls bid farewell.”
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Why watch this film?
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.
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Plot summary
On a dark, wet night a historic and regal Chinese cinema sees its final film. Together with a small handful of souls they bid "Goodbye, Dragon Inn."
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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.
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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.
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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.
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