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 Buddha+ (2017), in the vein of corporate product naming. Prior […]

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on Apr, 18 · in Interviews

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 filmic space: a small group of teenagers, all dressed in […]

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on Apr, 03 · in Reviews

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 experience/do in the course of the film. Adopting the first-person, […]

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on Mar, 30 · in Reviews

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 which take place in the span of one day: high […]

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on Mar, 28 · in Reviews


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