Face

May. 13.

I really don’t understand Tsai Ming-liang’s “Face” (Visage). It’s not appropriate to describe it as long and tedious after all, since at least I practiced French listening, and it did bring the visual and audio enjoyment to the audience.

For me, to review a film is equal to review the character of the director. The trailer made the film very attractive and perfect, but I found that a trailer is able to delude audience, since the best part of the film is concentrated in a very short trailer, and when watched the long film, I realized that the best part was in the trailer and that’s all. I wanted to appreciate it as a music or dance opera when I read the introduction, however, the music and dance were also only the fragments.

I can only say that “Face” is a true portrayal of Tsai Ming-liang, grandstanding and pursuing difference. Even he did not know what he wanted to convey, but it’s not within the scope of his consideration. The similarity between Hollywood and Tsai Ming-liang is the pursuit of sensual enjoyment, but his failure is at the same time associating with the French. How can France and Hollywood be mixed together? And how can Tsai Ming-liang be as deep as French? Some people deliberately try to look deep like a trailer as to delude people, but if you hope to feel their depth, you will just be disappointed like this.