transactions, her phone calls, and even her body smell. The film was screened in more film festivals than any of his previous works and was the first to receive distribution in the US, although limited. or an alternate reality? In a revealing interview included on the DVD, Hou Hsiao Hsien says he wanted "Millennium Mambo" to be a picture of Taipei night life and also "much more," a "multifaceted" film with "multiple points of view" that he would have liked to make six hours long; something post-modern and deconstructed and free-form and improvised, but "modernist" too in some aspects. Only at the very end do we get a glimpse of the sun. I loved the movie. Hou may no longer be trendy, but his latest film remains a masterpiece -- just another notch on the Master's belt. To quote Walter Chaw: "the film is a precise versification ruled by the unbearable beauty of youth at its terminus and decisions for a lifetime made at the trembling moment of crisis.". After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. May Awards Another way to prevent getting this page in the future is to use Privacy Pass. It also analyzes reviews to verify trustworthiness. The mood in which I left after viewing Millennium Mambo was a heavy sort of depression. gorgeous. Qi Shu has done a remarkable job as Vicky and I'm really looking forward to see Hsiao-hsien Hou's next film. But it is much more a coming-of-age story, told in a melancholy mood from a future perspective, mourning and accepting all the hardships it took. My name is Panos Kotzathanasis and I am Greek. You can follow me on Facebook and Twitter. Nobody not brain-dead exists in a state of pure mindlessness. Hou enhances this addiciton-to-the-moment with a voice-over that takes place in 2010, giving away plot points before they happen on-screen; since narrative convention no longer matters, the result is an even more intense experience of the moment tied in with an odd sensation of retrospection (no one messes around with the concept of history more than Hou). And talking The voice of a girl tells you about the relationships this girl had in the past and this voice says that, when she speaks, it's in 2010 (ten years later after when the action takes place). Other long-takes, showing two or more simultaneous independent actions, helped to invoke her sense of loneliness and the monotony of her life as the minutes dragged. A girl is advancing graciously along a walkaway, giving sometimes the impression of floating; she's talking presumably about herself, but at the third person. ... “Millennium Mambo” is another great film by a true auteur, and a must watch for all fans of cinema. The camera follows him to the floor, straining to see through the table obstructing the view but not getting any closer. As typical of a HHH movie showing, some audiences walked out, which means it is slow-paced. Shu Qi’s narration, The characters are shown in attitudes of thought but never speak anything like a thought, even a stupid one; they are moved entirely by want and impulse. In ''Millennium Mambo,'' which had its debut at Cannes in 2001 and opens today in New York, it's the sylphlike club hostess Vicky (Shu Qi), whose radiant smile … More difficult, in this milieu, and ultimately more interesting would have been to discover the person whose life it is (or will have been). oh, and watching this film with only DVD quality is really just not good enough. You see the problem with this film is not that it is bad, but the problem is that it could have been much shorter. They are boring in their self-indulgent childishness. The characters are basic (in terms of development), but thanks to the very natural interpretations they are credible. Three aspects of the film lend to this success: the non-sequential unfolding of events, the use of long-takes from a more or less distant perspective, and the sound track. well for the narrative, as it induces it with a sense of nostalgia. The critic was "bored" by the artistry. Each film (this and Goodbye) features aimless idiots in a monotonous "slice of life." Reviewed in the United States on April 12, 2013. In fact, I would even rank it as one of Hou's five best films (along with Flowers of Shanghai, Goodbye South, Goodbye, The Puppetmaster, and A Time to Live and a Time to Die). appearances: plain, casual, posh etc, in all of which, though, she appears and, of course, the meta-insertion of the role of cinema, of Yubari film festival, and just the perfect, perfect ending shot of the birds on the empty snow-clad ゆうばりキネマ街道 - Yubari Kinema/Cinema Street. the rest of the film lives in HHH's signature, the long-focal-length long-takes that just pans perfectly but also ever-so-hesitantly between people, within a scene, using only light-and-shadow and color and distance and layering as editing during a scene. and honestly, it all still just works so perfectly, especially when the scene is centered on the pure tension between two people (in this film, a couple in quarrel) - the panning back and forth is the shift back and forth, in moment, in power, in dynamics, in relationship. Poetic film with uninteresting characters.

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