Is "Face" really just a comedy?

Tsai Ming-liang’s films have gradually entered an inexplicable deadlock, which dissolves all kinds of compassion and care for human beings on the margins of indifferent society, and indulges in a self-enclosed fantasy world. The audience is no longer important in his eyes. Even those who have always been obsessed with the intense images he creates in closed spaces will quit after watching this film, leaving only a group of empty-handed people. Pretending to be a sophisticated fan base. This is thanks to Lee Kang-sheng’s experience on Douban last year, where he had a fierce battle with mainland movie fans, which made me understand that even Tsai Ming-liang can have so many shallow fans.

From the miserable face of the director of the Louvre Museum to the turbulent scene at the exit of the Cannes Film Festival, "Face" is a film that does not please both ends. The only comfort may be the New Wave master Fran?ois Truffaut who was under the spell, and those friends who had worked with Truffaut - Jeanne Moreau ("Jules and Jim") , Jean-Pierre Léaud ("The 400 Blows"), Natalie Bey ("Night and Day") and his wife Fanny Aldan ("The Flower"). The rebellion of the New Wave movement once started in the serious Louvre. In "Jules and Jim", the three people ran quickly through the hall corridor. Later, it even influenced Bertolucci's "The Dreamer"; and Tsai Ming-liang In her eyes, the Louvre is like a prison where the spirit is deeply locked. Letitia Costa sealed the glass on the window with black tape, which is a gesture of isolation from the outside world, and then sealed the mirror. It is a proposition that is unwilling to examine oneself anymore.

There are still gorgeous settings in the movie, mirrors everywhere, dancing in gauze and white clothes, and old songs by Yingying Yanyan, all of which are Tsai Ming-liang's consistent writing. In the structure of a play within a play, the song and dance scenes are no longer a carrier of extraction and transformation, but become a part of it, which also plunges the film into a kind of chaos. Most of Tsai Ming-liang's film investments come from France, and he also regards Truffaut as his idol. However, he has always been too unfamiliar with the situation in France. He is just a passerby in this land, not a returnee. This is why this film is far from " What time is it over there?" So free and smooth. "Face" almost uses the beginning of "The River" and the ending of "What Time Is It Over There"? The ghost of the mother replaces the ghost of the father in the latter, and even the big white fish is still in the fish tank. I don’t understand why my mother’s ghost stretched out her right hand against the blue background of the fish tank to share the pile of red apples with producer Finny Aldean, but what is certain is that all this is some kind of past accumulation. and self-plagiarism.