tsai-ming-liang

anonymous asked:

aiuto, cerco film recenti ma non i soliti, che mi puoi dire?

Juventude en marcha (2006), Pedro Costa

Yi Yi (2000), Edward Yang

Belluscone (2014), Franco Maresco

Shijie / The World (2004), Jia Zhang Ke

Workingman’s Death (2005), Michael Glawogger

Ten (2002), Abbas Kiarostami

United Red Army (2007), Kōji Wakamatsu

Tropical Malady (2004), Apichatpong Weerasethakul

Leviathan (2012), Lucien Castaing-Taylor / Véréna Paravel 

The Act of Killing (2012); Joshua Oppenheimer

Journey to the West (2014), Tsai Ming-Liang

San Zimei /  Three Sisters (2012), Wang Bing 

Trudno Byt’ Bogom/ Hard to be God (2013), Aleksei Yurevich German

Dias de Nietzsche em Turin (2001),  Júlio Bressane

Die Andere Heimat (2013), Edgar Reitz

The Iron Ministry (2014), J.P. Sniadecki 

Import Export (2007), Ulrich Seidl 

Why don’t you play in hell? (2013), Sion Sono

IZŌ (2004), Takashi Miike

Šílení (2005),  Jan Švankmajer.

Hadewijch (2009), Bruno Dumont

Los muertos (2004), Lisandro Alonso

Historia de la meva mort (2013), Albert Serra

Japòn (2002), Carlos Reygadas

Los Bastardos (2008), Amat Escalante

A field in England (2013), Ben Wheatley

Kotoko (2011), Shinya Tsukamoto

2

Jumping Filmmakers photographed by Alex Majoli 

Gus Van Sant, Wim Winders, Aki Kaurismaki

Wong Kar Wai, Tsai Ming-Liang, Takeshi Kitano

Tim Burton, Manoel de Oliviera, Olivier Assayas

Ken Loach, David Cronenberg, Alejandro Gonzalez Iñarritu

Cristian Mungiu, The Dardenne Brothers, Theodoros Angelopoulos

Pedro Almodovar, Souleymane Cisse & Quentin Tarantino 

6

‘Elaborating on the well-known aesthetics of the everyday of Ozu’s cinema…, anchored in stationary shots, Alain Bergala defines it as one in which 'the technique precedes the action, and never follows it’…, which, among other things, give rise to Ozu’s so-called 'empty spaces’ or 'still lifes’, that is, domestic spaces momentarily devoid of human presence in which one feels 'the absolute anteriority of the being-thereness of things, of their physical presence’… Likewise, the camera in Tsai [Ming-liang] demonstrates a certain indifference to human presence and on-screen action, meaning that it often remains firmly in place before or after characters have entered or left the screen…’

- Tiago de Luca, 'Sensory everyday: Space, materiality and the body in the films of Tsai Ming-liang’, Journal of Chinese Cinemas, Volume 5 Number 2 (2011), p.165.