Let’s go out this path: No one calls their movie “EEL” if they do not want critics to reach the “Slippery” characteristic, and its first distribution in Chu Chun-Teng. Her story, the slim but accusation, is in a continuous decline, wandering again and repeatedly in the psychological and existential alleys away from view. Its images are often far -reaching because they are beautiful, with symbolic layers, but they absorb the intuition that is not confirmed in the Rorschach. The chase is the excitement in the “snake”, which is an open love story in which an atmosphere of yearning is cut to summer suspended with gestures of unambiguous human needs, such as a harsh human need-such as an urgent need.
It can be said that the internal choice in the opening perspective competition that focuses on appearing at this year’s Berlin Film Festival, also announces one of its most confident direct and confident voices-which is the utmost sensory debtor to the message, but socialism, but socialism, but it is increasing on the helicopter. Zhou is also paid, through the young disorders specified for a wider crisis in generations in modern Taiwan: policy may not appear directly in a banquet of ear and eye, but the vision of the director full of vitality, is not completely separated from here and now. More waiting festival definitely displays; Adventure distributors also.
A large part of the film was filmed on the island of Shizi, in fact, a peninsula off the northwestern edge of Taipei, which was presented by two rivers. The swinging rural scene refers to a place more far from the city, while in the “Sea Snake” it is completely literal-a kind of land that is not enlarged between life and death, past and present, real and unrealistic. Liang (rising Taiwanese star Divin Ban, who was recently seen at the Cannes Locust Festival) is a citizen from the island, and recently returned from an attempt to escape, and it seems that they were cut off in its limited time fog.
Liang lives in an eager house in the river, but it drown in blue, and mostly live alone, while maintaining a indoor job in a waste management center with another other visible employee, Hao (Chin Yu-Pan). Unlike Jeddah, Hoy and Liang (Bella Chen), the island appears to be deserted only: he is protected from ghosts, perhaps, crossed timetables and turmoil. When a young woman (Misi Ke) literally drifted, the water is borne in a proper crimson dress, followed by Liang with the magic of the last man on the floor. It seems that the feeling is not completely mutual, but it alternates with his interest alternately and recedes from it coldly – an evasive creature of desire, as it is difficult to understand as another creature of the river.
With the evolution of the initial flirtation into a more sustainable sexual relationship – highlighting the words but heavy on the thunderbolt bodily, which was enacted without fear of the two stars – the “snake” develops from the concrete human dangers to consolidate its grief without roots, even when it seems that the history of the characters and emotional credits seems to turn from a scene to a scene, as if the embodiment of multiple romances through actions. The vast isolation that consumes completely is attributed through each of these two phases, as well as it was not achieved for the sake of being and the purpose: although this island’s time slides, extends, floundering back and forth, there is no clear future at all. Like the bathroom owned by his late father, who continues to return to the dilapidated roof-a picture of the detention models that were raised on Ennui to Terry Malawi on a completely different waterfront-he was imprisoned through the limits of his knowledge, the fossilized link to his experience.
With the passage of prisons, however, it is luster. The talented cinematic photographer Nguyễn Vinh Phúc (“Cu Li Never Cries” and “TASTE”) releases ground meat, water and meat alike with the same air of non -huge saturation, and the camera movements are weak and many, each color of color to the maximum, practically. This is rich in making concrete films, in some points that almost mocks its characters to satisfy the sensory that they cannot reach completely, in others who give enthusiasm to their violence. The “snake” red, blue and invading requires everywhere, such as many great desires that crowd, by feeling instead of analysis and indulgence instead of interrogation, because it beats and waves across the system.