Brittany Runs a Marathon
John Wick: Chapter 3 - Parabellum
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
We encourage our community to report abusive content and/ or spam. Our team will review flagged items and determine whether or not they meet our community guidelines.
Please choose best explanation for why you are flagging this review.
Thank you for your submission. This post has been submitted for our review.
Sincerely, The Rotten Tomatoes Team
I don't know how autobiographical this film is, only that Tsai makes it as some sort of self-reflexive experiment (which doesn't actually suit him) that probes into his mind and creative process at the expense of any clear structure but has some moments of poetic beauty.
Jean-Pierre Léaud + Jeanne Moreau + Fanny Ardant + Mathieu Amalric + Nathalie Baye... in sequences of irrelevant & meaningless scenes.
Tsai Ming Liang movie but with French actors.
Face (also known as Visage for the French translation) would have significantly benefited from a Q & A session, which was cancelled because the director could not make it to Toronto. Speaking to him would have answered the two meaningful questions in the minds of audience members: âWhat just happened?â? and âDid they ever recapture that escaped stag?â? This film should not have been selected for the festival and should not have been green lit by a studio for numerous reasons.
Firstly, the film wastes excellent cinematography. Close shots where characters were reflected in mirrors or windows, long fixed shots that showed a character moving down the stairs or through a hallway, and shots that showed a character questioning themselves as the world, for example a highway interchange or the traffic along le Jardin des Tuileries, carries on around them. These camera angles were visually stunning and wasted in a film that will not get significant distribution anywhere.
Secondly, the director hammers the audience over the head with overt symbolism. Characters duct tape mirrors, chant rhymically in a cemetery, and share a bizarre love scene in a meat locker. The first scene depicts a failed meeting with the director and his producer in a coffee shop. They never connect, just as the film never connects with its goal to explore how one discovers their own identity.
There is also an attempt to break down the fourth wall and make Face self-referential. The main character is a Taiwanese director attempting to make a film in Paris. I think that this proved to be a distraction from the main themes of the film.
Lastly, the screenplay is poor. Some images are absurd, such as a kitchen sink accident reminiscent of the Welch House Flood of â(TM)99 or opera characters whose opulent costumes cannot fit in the tight spaces of the real world. I think that the point is that we are always struggling through life, trying to find ourselves. People may handle obstacles differently, perhaps by trying to hide or attempting to deny the truth, but they musts move forward regardless. In the end, humanity is driven by the passions that provide the most significant moments in life.
But I really have no idea. Maybe the director simply wanted to tell the world that canned tomatoes and plastic wrap are not used nearly enough as sexual devices.
Without a doubt this is Tsai Ming-Liang's most personal film. It's an extremely challenging, fragmented film that is beautifully moving in parts, hysterical in others, and just layered with subtext. In all honesty I probably should have done a little more research on 'Salome' as I am sure there is plenty of things I am missing when viewing this endlessly fascinating and challenging film. Unlike most of his other works that seem to follow some type of narrative this film is far more abstract and fragmented. Characters are presented with barely any context, as if they are just there to react and be shown as they live and make decisions without anything really being explained. I don't know at all if this is what Tsai Ming-Liang was going for but it's almost as if he views this fractured, sporadic landscape as life itself, where each character seems is in their own little world with their own problems and situations with human interaction almost feeling like a burden. Visually the film is pretty much a masterpiece. The sets and visual design abstractly exudes mood and feelings, with some truly breath-taking visuals that really, at times, blew me away. 'Visage' is a film that provides more questions than answers and where the "plot" doesn't matter. It's all endlessly fascinating and I really appreciate these types of films but this one just didn't draw me in emotionally as much as some of his other work. The one exception may be the parts having to do with his mother's death and their relationship, which was a beautiful site to behold.
dejen lo pongo de manera minimalista: GUAAAAAAAT DE FOOOOOOOOOOOC!!!!
2 horas! 2 horas de ru vida pedidad en lo que dura la pelicula . 2 hrs que me habia ahorrado por no fumar se fueron a la basura!
bueno, no fueron 2, fueron como 38 min porque LITERAL, la vi en fastForward>> de 4x para leer el poco dialogo que tenia la movie!!
CONSEJO: evitala! a menos que le quieras ver las chichis a Laetita Casta (cosa que no es novedad ya que sale asi en cualquiera de cosmopolitan o en Fama)
ARTY super FARTSY!!! pelicuals como esta te hacen apreciar el cine de Peter Greenaway!
bonita bonita pero aburrida, la poesÃa no es lo mÃo.
I really have little to know idea what this was "about", from watching it. From the Tsai's I've seen (this would be number 5), it's the most vignette driven, so be prepared for a collection of moments and impressions, rather than cohesive narrative. That being said, the cinematography has never been better or richer. The first hour or so is just staggering in it's simplicity and hypnotic appeal, it's hard not to watch it feeling as it if a masterpiece. Nearly every time I began to get anxious the scene shifts into some new place or character or old one in new context, or of course a song and dance routine. This is easily the most abstract Tsai I've seen, comming of the desert of the real that was "What Time Is It There?", but it's still a glorious experience. More later...
filmin basindan sonuna kadar koli bandiyla pencereleri bantlayan sonra bir iki dans eden ama tek kelime etmeyen Laetitia Casta`yi izliyoruz.. :@
ne zaman acam akilli bi filmde oynayacak Laetitia Casta.. cok merak ediyorum ve bu dandik filme 4 veriyorum :)
This movie really frustrated me and, to be honest, really hurt me. It hurts to give anything Tsai does this low of a grade. But honestly, despite its incredible cinematography/art department, the movie suffers from leaving the audience in the dust. Should I be required to have an expansive knowledge of another work of art in order to enjoy this one? The thing that bothers me the most is not that I wasn't allowed to understand it, but that I'm sure Tsai understands it completely. And maybe it means a lot to him in comparison to me. But I felt nothing. And I think an audience matters. I still look forward to what Tsai does next and will probably continue to rewatch his other films a million times. I just hope his next one isn't as self-indulgent.