Days

The first scenes is actually a good test. If you enjoy it, I think you'll love this movie. If not, I strongly advise you to stop there. The whole movie is indeed made of the same substance: long motionless sequence-shot. No action per so. No dialog.

The Film is an onirious, dreamlike journey, it reminds of Tarkowskis Stalker or other great films outside the normal scale. You have to be patient until the end, although the long frames without camera movement and not much happening forces you in the seat and at one point you will be able maybe like an meditation to think about yourself. I also saw the film at it's Berlinale opening and I was also thinking what does this film or the director want to do with me? Get yourself on this journey to your inner self and you will not be disappointed.

Actually, none/nada, but still captivating as we silently (except for a few scenes with background noise) follow two men as they live their days. We experience one's pain though heated acupuncture; acupressure; neck brace; very deep total body muscle tearing massage. For millions that day-to-day marginal existence defines their lives?

"Rizi" ("Days" in English) is the first Tsai Ming-liang movie that I've ever seen. It appears that he's Taiwan's answer to Jim Jarmusch. The movie is the ultimate example of slow cinema, featuring long takes and only a handful of lines (none of which are subtitled). I guess you could say that the movie is about life, as an affluent man and an immigrant have a brief fling.

You'll have to avoid the movie if you want to see superheroes, explosions, car chases, etc. This is a low-key film focused very much on the characters. I wouldn't call it the greatest movie ever made, but it's still more interesting than the umpteenth movie where Tom Cruise narrowly avoids all danger. I don't know if it's available on any streaming service, so you'll probably have to check a neighborhood video store.

In his latest films, Ming-Liang Tsai seems to shed all the superfluous elements. This recovery of the body (the real illness of actor Kang-sheng Lee) and of the spirit (the alienation in the city) is a challenge to the viewer which does not need dialogue to express a certain desolation, which is also a disease of our society. The director makes cinema more pure, but also more difficult to bear.