Poussières dans le vent

As far as I can tell, this is a series of melancholic vignettes which at the end amount to a melancholic (if not outright depressing) conclusion. Is this film supposed to express something about the fleeting nature of reality ("dust in the wind")? If so, I think there was no need for such a long story, because all the scenes had that same uncertain quality from the very beginning. There was no progress, no added depth; the film only kept adding misfortune upon misfortune and then it just ended. A City of Sadness has a very similar style and mood, but it uses it to explore and comment on society and its complexities, offering multiple perspectives and personalities on the way. I've seen some people compare this movie to Ozu and De Sica, but I think that's just focusing on the form and not the content. Whereas here Hsiao-Hsien remains distant and somewhat indifferent to its subject, Ozu is profoundly emotional and De Sica is greatly socially committed.

Hsaio-hsien Hou based this quietly effective Taiwanese Bildungrsoman on co-scripter Nien-Jen Wu's own experiences. The film is heavily influenced on the one side from Japanese masters like Ozu (though Hou denies this) and from the Italian Neo-Realists whose films inspired Wu. It's the old story of the younger generation ('60s kids from a mining town) leaving the country to try their luck in the big city. A shy, but devoted couple seem to be making a go of it, but life, jobs, family and even military service take a toll on the relationship. It's well observed, especially in the rural sections, and charmingly acted, but the natural flow of events doesn't really stick with you. Hou has trouble balancing the plot strands and particularizing the relationships, asking for a response out of proportion to what we've seen. No doubt this is not a problem for Taiwanese audiences, but then Ozu & De Sica managed the trick, didn't they.

Dust In The Wind is a 1986 Taiwanese art house drama about two adolescents who decide that they do not want to stay in their home village in order to go to junior high school and instead they make the decision to get a train to Taipei in order to look for work.

And that is basically what the film is about.

For an hour and fifty two minutes the viewer is treated to scene after scene of boring and pointless dialogue and different characters lighting up and smoking a cigarette.

The only reason I can recommend watching this film is if you are suffering from a lack of sleep as this boring film will have you drifting off to the land of nod in no time.

The screen is totally black and after a few moments a very unclear spot seems to flicker in the middle; just a few more moments and the tiny white spot gets clear; the spot gets bigger: it's the end of a railroad tunnel, and a train is running through the mountains. The movie has just started.

Made in 1986, Dust in the Wind belongs to the first artistic decade of Hou Hsiao-Hsien. This was a period when the Taiwanese director was preoccupied by the story of his own generation: the youngsters from the sixties, coming to age while their country was coming to age. Teenagers leaving the countryside for the big cities, facing the challenges of an unknown environment, trying to understand the new realities and to adapt, while still reluctant. Youngsters behaving erratically, like dust in the wind, dreaming big, till confronted by time and fate: time to erode all illusions, fate to treat all dreams like dust in the wind.

Nothing remarkable happens in this movie. You can consider the plot as extremely boring, only this is not the point. Also some reviewers stressed out the unsentimental approach of the director in telling a story that after all implies sentiments. It's true, but again, this is not the point. Like in all films of Hou Hsiao-Hsien, the plot has the unique role to create a universe, and to leave room for meditation. The language of images is here essential, to operate on the subconscious level. Watching Dust in the Wind calls immediately in mind the world from the movies of De Sica, but the Taiwanese master gets subtly beyond. It's just amazing how this director takes the sordid (in good neorealist tradition), finds the perfect place for each actor, for each object, and processes everything in hypnotic long takes.

The influence of Ozu is also present in this movie (let away the same love for railroad scenes, think at the last scene, showing the ocean: it's the moment of stasis, the way all Ozu's works end; coming immediately after the dramatic outcome of the plot, it suggests that whatever happens is unimportant in the cosmic order of things; life will go on anyway). What differentiates Ozu and Hou is the way they treat the plot. If you watch any movie created by Ozu, you have the feeling that the Japanese master is seated near you, enjoying the events from the screen as much as you do. For Hou the story is like an executive summary, detailed just to the point where the images can exist on their own to play on the hypnotic register.

I found Dust in the Wind on youTube, in ten consecutive videos. I know that watching a movie by Hou Hsiao-Hsien on youTube can be painful, so I suggest you get a DVD copy, if possible. I watched it on youTube, and my Internet connection was getting slower every now and then. However it paid.

I love Asian movies quite a lot and for some reason "Dust in the Wind" (aka "Liàn liàn fengchén") from 1986 had managed to elude me all the way up to 2019. When I was given the chance to sit down and watch this movie, I of course jumped at the chance.

Turns out that this Taiwanese movie was a major slow paced and prolonged movie with zero appeal to me. Still, I managed to sit through almost 72 minutes of the entire 109 minutes the movie runs for. I kept watching with the hope that the movie would pick up pace and that the storyline and/or characters would eventually start to have any appeal.

It just never happened...

The storyline in "Dust in the Wind" was simplistic to the point where it lost all of its appeal. It is about young people leaving their provincial home villages behind and head to industrious Tai Pei to work. And then there was some adolescence elements thrown into the formula as well. But it just wasn't enough to make a watchable, enjoyable or entertaining movie. I must admit that I have no idea what writers T'ien-wen Chu and Nien-Jen Wu were trying to accomplish with "Dust in the Wind".

The characters in the movie were essentially as pointless as the storyline. They had no personalities and milled about like battery-operated drones with poor interactions and equally poor dialogue randomly thrown about.

If you have problems falling asleep one evening and have "Dust in the Wind" within arms reach, put it on, because you might overcome your sleep problem and be soundly asleep within a short while. This was a massive swing and a miss of a movie. And I have zero interest in returning to watch the rest of the movie, because I imagine it is going to be every bit as pointless and trivial as the 72 minutes of prolonged torture I already watched was.