Visage

Virtually every scene is a striking work of beauty. The themes of isolationism are toned down. On one level, it's about the process of filmmaking, and the layers of artificiality. It's also a re-affirmation of Tsai's adoration of Truffaut. Like all Tsai films, there's a good deal of very sly, dry humor. I am rambling, and that's appropriate for this movie, which is so packed and sprawling that it probably would confuse the hell out of anyone not already on the Tsai bandwagon.

The floating kitchen scene and the mirror forest were stunning. I also liked the combination of snow and soap bubbles. Then again Visage lacked a decent story. Well, there was one... maybe two, but there was plenty of scenes that did go nowhere. Or they did, but I lost interest on them. Too artsy for me. Antoine's dream was hilarious and the bath tube in freeze room okay, I guess, though they and practically every scene were way too long for my taste.

The usual minimal and slow but yet expressionist Tsai who deals with cycles of matter in the universe and an architecture of cinema in time and space, now deals with the flow of cultures and personalities, interchange of faces and touches in a time travel. I always felt that Tsai, by prolonging and concreticizing the mise-en-scence by very personal and idiosynratic moments, invites his audience to do the same thing, i. e. do whatever they like or wander along like in "Goodbye Dragon Inn".

Will almost certainly improve with rewatches as, being Tsai's most personal film, it's a rich maze of ideas and strange disparate scenes that will take a while to unravel. Prismatically beautiful and with some great songs and moments of humour. Themes include loss, insecurity and the difference between the image people have of you and the reality of who you actually are.

Visage is an art film, long, slow and mysterious - but never boring like others. At first a random sequence of vignettes makes no sense - kitchen pipes burst; a man sits in a snowy forest of mirrors; a fur-hatted girl lip-synchs a Chinese song. But as we go on, subtle threads appear and a very loose concealed narrative emerges beautifully. The long, classical, static camera shots become hypnotic... patience grows and is rewarded with humour, seduction, beauty and answers. A stunning delight.

nisan 10, yeni ruya , yonetmenin izledigim ilk filmi, 29. ist. film fest. & deli bir film visage.. yonetmenin stili sahip olmak istedigim ama gercekten daha cok yolumun oldugu farkli bir sinema turu, oldukca kisisel. deli film Visage. Su alip, batmaya meyilli bir ev. Evin annesinin olumu, akvaryumdaki baliklarin, su alan evin haline ragmen tutsak olarak akvaryumda yasamlarina devam etmesi. Yaslanmis olan Jeanne Moreau. 400 Darbenin final sahnesinin fotoromani.. oldukca kisisel..

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