In Yen Tan's glacially paced movie (every shot is relentlessly symmetrical), the actors are squares in graph-paper compositions.
| Original Score: 2/4
Yen Tan's Ciao is a revelation, a minimalist work of maximum effect. It is determinedly understated and consistently expressive, beautifully composed yet never studied.
| Original Score: 4.5/5
It's made on the smallest of budgets and features awkward if sincere performances, yet Yen Tan's film still manages to strike a series of plangent emotional truths about speaking one's heart and moving on.
| Original Score: 2.5/4
Ciao moves at a snail's pace. It feels long even at its abbreviated length.
The story is so minimal that it almost doesn't exist.
In theory, there's no reason a movie shouldn't endeavor to be somber and tentatively hopeful at the same time. In practice, unfortunately, Ciao is depressing and ploddingly elegiac.
| Original Score: 1.5/5
Deeply sincere and exceedingly slow even at 87 minutes, Ciao involves two strangers who become acquaintances after the death of a mutual friend.
| Original Score: 2/5
The plotline of 'Ciao' is trite -- and the filmmaking itself drags.
It's hard to shake the feeling that the onscreen words stick too close to the facts: The dialogue drags, making the viewer like an invisible third wheel at a nervous, slightly dull first date.
| Original Score: 2/6
The film's calculatingly minimalist style is in many ways as affected as all the gay Amerindie films at which writer-director Yen Tan snottily thumbs his nose.
The ever-static camera undercuts the poignantly understated performances with the egotism of a futon ad photographer who fancies Ozu.
Helmer/co-scripter Tan conceives of his two characters as complementing each other within a minor key.