Observing the Absurdity: An Interview with Huang Hsin-yao
For his feature-length debut, Taiwanese filmmaker Huang Hsin-yao adapted his 2014 short film The Great Buddha – hence the feature’s cheeky title of The Great...
Our House (Japan, 2017), or the spectral and the spatial [New Directors/New Films 2018]
The opening scene of Yui Kiyohara’s debut feature (as her master’s degree project at Tokyo’s University of the Arts) immediately draws the spectator into its...
The Great Buddha+ (Taiwan, 2017) – Screened Lives, and Screening Power/Play/Pleasure [New Directors/New Films 2018]
From the opening credits of his debut feature, filmmaker Huang Hsin-yao establishes his film’s atypical, tongue-in-cheek perspective and approach to his characters and what they...
An Elephant Sitting Still (China, 2018) and the movement of emotion-as-space [New Directors/New Films 2018]
In the late Hu Bo’s first and last film, scenes revolve around the inhabitants of an apartment complex located somewhere in northern China, all of...