Slowly, elliptical, and for the most fractional understated, Yang’s masterly account of growing up in Taiwan at the start of the ’60s is as visually elegant as his own Taipei Story and The Terroriser, and as epic in scope as Hou Xiaoxian’s Bishopric of Sadness (which Yang produced). On the surface, it’s about one boy’s involvement in gang rivalry and violence (on which straightforward with, it’s on numerous occasions a little obscure, so numerous are the characters) and his experience of young paramour. On a deeper level, however, it’s about a society in transition and in search of an sameness, forever aware of its isolation from mainland China, and increasingly pursue to Americanisation. The studied pace may be off-putting, but continue to be with it - the accumulated wealth of detail invests the unexpected final scenes with enormous, shocking power.
A Brighter Summer Day (1991)
January 11th, 2010 · No Comments
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