The truth is, instead of talking about Tsai Ming-Liang’s cinema, which we can see almost entirely in the Filmoteca de Catalunya this month; How lucky we are, that with tickets at four euros facilitates and encourages our continuous training and brings us in person the most important directors of the moment, such as Béla Tarr or Tsai Ming-Liang, who the other day, after the passage Dieswhich cost about $ 300,000, to the question of why he planted the camera and did not move it to follow the actors, he simply responded “because I like it.”
I would like to say wonders of the films of Lee Kang-Sheng, the actor with whom he has been working for 35 years and who has turned his filmography into a kind of real-time study of his person; In fact, it is to adapt to the way of doing Kang-Sheng during the filming of his first telefilms that Ming-Liang adopts the natural rhythm that will end up being so constitutive of his cinema. I would like to say wonders of Tsai Ming-Liang’s films, but it would be like means of wonders of a dust-made gentleman who rains, a woman lying on the bed he listens, between fascinated and annoying, the noises coming from the upstairs floor, from a piece of jungle that swings with the wind of the night, of a masseurian, a masseur, a masseurian, a masseurian, Extremely eating a cockroach that could be someone’s reincarnation. Tsai Ming-Liang is interested in-the obsession, falling in love-the lives of others, what is outside, the world, the life that is not him or his navel: the camera plant (as the question of the question said) to see what happens, it is made available, he does not add anything, he listens everything and then shows you without judging, without imposing, without lesson, as an offer.
The film only “works” when addressed to a very specific, European, white, privileged audience?
If I could, instead of talking about Syrupwould put a quieter from Oriol Sauleda from his splendid book Lightpublished in 2021 by the publisher Documents Documenta, a book that does be thoroughly in the universe of free festivals – the other and currently said radishes, but they have been coming from afar, thousands of years ago we do, of festivals like this, are as constitutive as talking or laughing. It would be this:
This has been a ritual
To confuse white and white,
and realize that it is the same
If you are an oak or you are a cedar,
that listening is radical
When working, everything integrates,
-Soc a soul, a fanal.
The truth is that instead of talking about Syrupwith a budget of more than six million euros, Cannes jury prize, great success of audiences, a promo talking about raves In the Moroccan desert and a father looking for his daughter, and with comments on the networks such as “It’s a movie that burst you”, “I have taken days to pair”, “shocking, great cinema”, I would prefer to remember the stage of Crowdby Gisele Viène, which blooms with a multitude of slow -motion dancers, an expressiveness and a virtuosity totally at the service of the thousand emotions and situations that are being given simultaneously in front of the viewer: EXTICAL RAMPLES, Violence and attractions, alienation and brotherhood, with all the subtlety and richness of what happens to us when we pay attention. And the music, which is the body of time when it dances, appears, climbs, accompanies, counterpoint, overwhelms and melts with the same respect, without ever passing through the address. The assembly leaves you room, allows you to pay attention to a particular dancer and the microsage that you develop, go from here to there or to have a more general look. There are many trips to make, and the show is an invitation that you participate freely, creatively, vital. It has you. When I end up, I dare to say a spectacle, the audience is touched: so many things have been eager to talk about it, to share the fertility of a desert.
If there is no choice and I have to talk about SyrupI think it will be best to open the turn of questions directly: What does the knot answer in the stomach that has to leave a lot of the people who saw it? What role does sound design play from the script of half of the footage? Is it a wanted effect, sought, by the director? Syrup deals with the viewer’s manipulation, such as Funny Gamesby Michael Haneke? Or is it a mystical, transcendent movie, because both things can’t be, or yes? What is the relationship with mystique with cruelty? Sirat is sister cousin of Samsaraof Lois Patiño, and of, or sooner of iAmélieby Jean-Pierre Jeunet? Why are the dialogues so literal, why do they underline what we already know or see? Why is this hierarchy so pronounced between image and sound, and word? Is it because the word, when it is not literal, can expand the meaning more and allow a less limited reception? All this unique sense architecture, where does it take us? Is it the opposite of learning? Is it a moral and deterministic allegory about humanity? Why the rhyme between radish, desert and hell? What is the relationship with this way of doing so univocal with the director’s statements about femininity, polysemy and porosity? In an interview, lax says that for him nature is very important, another character, no decoration – thinking “where you see the desert / swarms of worlds they form” – but then, why a Syrup Is nature completely instrumental and at the service of the frightens of the protagonists? What is the word that defines the person who does the opposite of what he says? What would anyone thinking about the train think of the train on the final scene, before the camera gets up and makes it even clearer to where we head? Syrup Only “works” when addressed to a very specific audience – European, white, privileged, etc.? Is it cinema of guilt? What do we bring about aesthetic violence to structural violence? What can legitimize, not only at the discursive but also social level, the inconvenience and constant threat of a Third World War? Can you be part of the solution if you are part of the problem? What does it mean to take sides? Can an alienated movie about alienation be made?
