Tsai Ming-Liang’s ‘Days’, ‘Dry Wind’, and Mohammad Rasoulof’s ‘There Is No Evil’

Posted on February 29, 2020

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An entrancing slow-burn drama about loneliness, a provocative gay triangle, a rock-solid update on the executioner’s dilemma…

Spoilers ahead…

You can read the full review on Film Companion, here: https://www.filmcompanion.in/tsai-ming-liangs-days-dry-wind-and-mohammad-rasoulofs-there-is-no-evil/

What does “slow cinema” — a term often associated with Tsai Ming-Liang — give you that a 3x speeded-up version doesn’t? Take the opening scene of Days. It lasts about five minutes. At first, we just hear the rain and see a man staring at it from inside his house. But as the unmoving camera continues to observe him, our observation of the scene deepens. There’s a glass of water on the table beside him. His chair is brown. The wall behind him is painted in a pale shade — maybe a light blue, or even white. In the reflection on the glass window he stares at, we see branches waving in the wind. The man is wearing a V-neck vest. With each breath, his chest gently rises and falls. The effect is meditative, sure. It’s also melancholic.

Continued at the link above.

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