The CinemaScope Trilogy, 1998-2002

Peter Tscherkassky’s elegantly conceived, idiosyncratically transfixing, and neuron-saturating CinemaScope Trilogy is made without a camera – a series of films entirely realized in the dark room using techniques of contact printing and variable exposure to transfer found film into unexposed film stock, then manipulated and processed to create the final works. Serving as both an […]

The Wayward Cloud, 2005

In an early episode in The Wayward Cloud, Shiang-chyi (Chen Shiang-chyi) spends an aimless afternoon watching television news reports on the ongoing drought and the coincidentally timed falling market price of watermelons, leading the anchorman to jokingly remark that drinking watermelon juice has become more economical than drinking water. The theme of essential substitution proves […]

Goodbye Dragon Inn, 2003

Perhaps Tsai’s lightest and most thematically distilled and minimalist film to date, Goodbye Dragon Inn pares the dialogue to two brief exchanges that reflect the film’s pervasive sentiment of disconnection: the first, with a displaced Japanese tourist (Kiyonobu Mitamura) cursorily on the lookout for opportunities for an anonymous sexual encounter in the dilapidated, near empty […]

The Hole, 1998

The final days of the year 1999 prove to be a bleak and chaotic time in Taipei. A widespread virus, “Taiwan Fever”, has crippled the city, reducing its victims into exhibiting unusual, cockroach-like behavior. Quarantined areas have been established, and the uninfected residents are repeatedly encouraged through news broadcasts to evacuate into government arranged temporary […]