|
รางวัล:
Stray Dogs (2013)
14 wins & 20 nominations.
| |
Asia-Pacific Film Festival 2013
Asian Film Awards 2014
Black Movie Film Festival 2014
Chicago International Film
Festival 2013
Chinese Film Media Awards 2015
Dubai International Film
Festival 2013
Golden Horse Film Festival 2013
Indiewire Critics'' Poll 2013
Won
ICP Award |
Best Undistributed
Film |
International Cinephile Society
Awards 2015
Nominated
ICS Award |
Best Film Not in the
English Language
9th place.
|
International Cinephile Society
Awards 2014
Won
ICS Award |
Best Picture Not
Released in 2013 |
National Society of Film Critics
Awards, USA 2014
Won
NSFC Award |
Best Film Still
Awaiting American
Distribution
Ming-liang Tsai |
Sarasota Film Festival 2014
Seville European Film Festival 2013
Taipei Film Festival 2014
Won
Festival Prize |
Best Actor
Kang-sheng Lee
With tremendous
emotional strength
derived from the
actor''s life
experience, Lee''s
performance ... More
|
Nominated
Festival Prize |
Best Narrative
Feature
Ming-liang Tsai |
Tallinn Black Nights Film
Festival 2013
Venice Film Festival 2013
Village Voice Film Poll 2013
Won
VVFP Award |
Best Undistributed
Film |
|
|
Stray Dogs (2013)
Stray Dogs (Chinese: ˈ郊遊, French: Les Chiens
errants) is a 2013 Taiwanese-French drama
film. It was written and directed by Tsai
Ming-liang and starred Lee Kang-sheng.
A man and his two young children, a boy and
a girl, are homeless in Taipei. During the
day, the father has a job holding up signs
advertising real estate. The children spend
their time wandering around stores and the
countryside. The family meets at night to
wash in public bathrooms and sleep in
abandoned buildings. At various times, they
are joined by a woman.
User Reviews
A painfully slow and beautiful film
10 May 2016 | by willwoodmill (United
States)
The modern film world is one filled with
excess, and I''m not just talking about
manufactured Hollywood block-busters. No
there is even a large amount of excess in
films that are more "artistic" if you will.
And I want to be clear, that is not
necessarily a bad thing, several films
recent films have done wonders with just the
concept of excess beyond reason, like The
Wolf of Wall Street for example. But I do
feel like something has been lost in the
film world, a certain subtly that filled the
films of Bergman and Ozu. A restraint that
served to exemplify the characters and their
struggles. Luckily there are some
contemporary directors that are trying to
continue this subtlety, and one of those
directors is Ming-Liang Tsai.
Stray Dogs is the most recent film by
Ming-Liang Tsai, and well Stray Dogs doesn''t
have a plot, at least not the conventional
sense. The film instead follows the lives of
a few different characters, and tries to
capture them as they are. The film brings
the audience close to these characters and
let''s the audience understand them for what
they are. To say that Stray Dogs takes its
time is an understatement, every single
scene in the film is slow and is stretched
to the very limit of filmmaking. And believe
me when I say that the scenes are at their
limits. There are two scenes in the film
that go on for so long that it exceeded not
only anything else I had seen in any film,
but they exceeded anything I thought
possible. There is something very hypnotic
about these scenes, Ming-Liang Tsai forces
the audience to just stare at these
characters for minutes on end as we soak in
their facial expressions and slowly become
one with them. It is something that is truly
gorgeous and needs to be seen to be
understood.
If the actors in Stray Dogs were bad or even
just average the film would be completely
unwatchable, but luckily for us they are all
fantastic. Especially Kang-sheng Lee, who
plays the father of a small homeless family.
(Kang-sheng Lee worked with Ming Liang-Tsai
on several of his films.) He gives one of
the most enduring and real performances I
have ever seen. Another thing that''s needs
to be great for the film to work is the
cinematography, which is also fantastic. The
film is shot in a very matter-of-fact way,
things are just shown as they are. The
camera only a moves a handful amount of
times in a film that''s over two hours long.
And the colors and lighting are just
wonderful. Overall Stray Dogs is one of the
most refreshing films I''ve seen in a long
time, and if you think you can handle a
really, really slow paced film, with a very
unconventional narrative structure. I would
highly recommend Stray Dogs.
Journey to the West (2014)
Tsai Ming-liang returns with this latest
entry in his Walker series, in which his
monk acquires an unexpected acolyte in the
form of Denis Lavant as he makes his way
through the streets of a sun-dappled
Marseille.
User Reviews
A meditative piece of art that questions the
motion in motion picture.
23 January 2015 | by Sergeant_Tibbs
(Suffolk, England)
Sometimes minimalism irks me. Sometimes it
gets me. Journey To The West gets me. It
offers no discernible dialogue or plot,
instead it''s a 50 minute meditative art
piece wherein Holy Motors'' Denis Levant
meditates and a monk walks very, very
slowly, often in public. Without doing much
at all, it''s hilarious, infuriating,
profound, poetic, and utterly brilliant. I
haven''t seen any of Tsai Ming-liang''s other
films yet so I don''t have any context but
this works on its own. Like Chris Marker
with La Jetee before him, Journey To The
West questions the motion in motion picture.
It questions the ambiguities of life - ideas
of motivation, drive, purpose, relief, but
also cinematically in the sense of
conventional setup and payoffs and journeys.
Above all, it''s a film that revels in the
tranquility of the moment (or not so
tranquil), and while it''s surreal in mood it
feels utterly real, refreshing and revealing
of the human condition.
Granted, the film definitely tests the
boundaries of tedium, and if it were any
longer I probably wouldn''t have tolerated it
as much, but instead Ming-liang is
restrained and economic with all his dozen
or so shots. Scenes like watching the monk
climb slowly down a subway staircase for 15
minutes bleeds so much life. It''s pure
meditative cinema, stripped down but honest.
Other shots are almost a case of Where''s
Wally in finding the monk among the crowd.
It''s delightfully entertaining and makes you
think about cinema can do. Self-aware
moments certainly confirm that Ming-liang
isn''t ignoring the audience. I can''t tell
whether he''s is truly pretentious or
laughing at us with this, but it works on so
many levels. It holds a tense and quirky
atmosphere that''s interesting and strangely
poignant, yet quietly exuberant. Helps that
it''s such a rich aesthetic experience with
its gorgeous cinematography and dense sound
design. I understand why many find the film
hallow but this is a rich tapestry for me.
|
