international newport madrid group fashion reviews ref 81345798500 nig: final curtain | blogger

7/30/2019 International Newport Madrid Group Fashion Reviews Ref 81345798500 NIG: Final curtain | Blogger

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Final curtain

Newport International GroupMadrid Fashion Reviews Ref 81345798500 NIG


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http://www.scmp.com/magazines/style/article/1225818/final-curtain

BAKING HOT IN COSTUMEas a human billboard, a character in hisupcoming film, isnt strange at all to auteurTsai Ming-liang. In fact, Tsaimight well be the only Golden Lion winner having to hawk tickets on the

street to extend his movie runs.

Though Tsai enjoys the reputation of an internationally acclaimedfilmmaker winning prestigious awards in Venice, Cannes and Berlinhis slow-paced, realism films have not done as well as one might hope atthe box office.

Sometimes I give two talks a day at schools or galleries so I can sell

tickets, says the Malaysian-born, Taiwan-based filmmaker. I need to sell10,000 tickets before the movie opens to ensure it will run in the cinemafor at least two weeks.
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Having been in the industry for almost 30 years, the 56-year-old filmmaker

one of the godfathers of Taiwans New Wave Cinema alongside the likesof Edward Yang De-chang and Hou Hsiao-hsien is ready to retire fromthe silver screen.

Im not getting any younger, says Tsai, whose Homegreen Films producesand distributes films independently.

Making movies is not the same as manufacturing products in a factory. All

my stories are original and I feel perhaps Ive said enough.
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For what could be Tsais swansong, the working-titled The Diary of a YoungBoyunmistakably has the filmmakers signature all over it. The story followsa jobless father, whose wife leaves him and the children because of poverty.

Failing to pay the rent, the father is on the verge of being evicted.

The underdog takes on the minimum-wage job of a human billboardadvertising luxurious condos. During his daily eight-hour stint, his childrenspend the day in a nearby shopping mall filled with scrumptiously packagedproducts.

I wont regret it if this ends up being my last film. Id rather it be my lastbecause Ive never been freer, Tsai says. We wrote eight versions of the

script and made changes on set every day during filming to avoidconventional storytelling.


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Tsai first got the idea to develop the story about 10 years ago, when he noticed the emergence ofthe so-called sandwich men bearing advertisements on their bodies.

I was shocked that such a job even existed, Tsai says. The sad thing is weve all seen him, but

after a while, we stop having feelings for him. As a filmmaker, I wish to bring such a characterunder the limelight. Tsai has consistently explored reality in his features troubled youth wastingtheir days at games arcades in Rebels of the Neon God, the confused and depressed couplein Vive LAmour, the solitary and wounded son in The River, and the marginalised migrant worker

in I Dont Want to Sleep Alone.

Im not interested in filming the fabricated la dolce vita, the kind of processed fantasy that the

majority of the audience expect filmmakers to serve them on a silver plate, Tsai says. Real-lifeevents can be more cruel than films can portray, but still I want to show a segment of that, eventhough few people are willing to be confronted with it.
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Tsais often abstract and subtle cinematic language is the opposite of commercial

films, yet hes unapologetic about the grim grossing prospects.

Commercial power is so strong that it changes peoples habits and tastes, Tsai says.

There are so many commercial films that you dont have time for anything else. You

are cut off, and in the end you wont be able to tell whats good and whats not.

When you consider film an art form, you dont want to always please your audience.

You want to take them to the next level.

I cant imagine myself making a commercial movie. In the 20 years of my career, Inever stopped looking for freedom. Without freedom, making a movie is like makingcanned food everything !tastes the same but comes in different packaging. Mymovies are long-lasting and need to go !through fermentation. Its a slow process, butits always ongoing.


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Tsais unparalleled style has earned him recognition at international film festivals and from film

institutions.

In 1994, his Vive LAmour, depicting a love triangle among three distraught city-dwellers sharing aflat, won the prestigious Golden Lion award at the Venice Film Festival. His 2004 production, TheWayward Cloud, controversial for its erotic portrayal of romance in the time of drought, wonnumerous awards, including the FIPRESCI Award at the Cannes Film Festival and the Silver Bearat the Berlin International Film Festival.

Tsai was knighted by the French government and was invited by the Louvre Museum tofilm Face to add to its official collection.

Face, an abstract interpretation of the Salom myth shot inside the Louvre, has a starry cast,including French new wave giants Fanny Ardant, Jean-Pierre Leaud and model-turned-actressLaetitia Casta and Lee Kang-sheng, who worked with Tsai in all his movies. Face stirred upheated discussions in the film and the art industries.


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Making Face made Tsai realise possibilities larger than cinema. Art galleries and museums acrossthe globe offered to work with Tsai following the films release.

It was a turning point in my career, Tsai says. Being invited by the Louvre gave me therecognition I longed for. It is clear that film can be collected as an art piece.

Having tasted the hospitality of the art world, recent years have seen Tsai delving into variousareas, from art installations to musicals. Such interests are likely to take up most of his time, post-cinema.In 2007, Tsai explored the world of visual arts with an installation inspired by a derelict cinema in

Malaysia, as part of a group exhibition at the Venice Biennale. The piece was consequentlyacquired by the Taipei Fine Arts Museum of Taiwan.

Three years ago, Tsai tried his hand at painting, which he had taught himself at an installationexhibition in Taipeis Xue Xue Institute. He found 49 used and abandoned chairs, captured theimages with oil paint strokes and juxtaposed the actual furniture against the painting.


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He used a similar concept a year later, and transformed a boiler room established in 1937 underJapanese colonial rule into a theatre for his installations. 2Next year, his film retrospectives andart installations will also be shown in museums in Vienna and Brussels.

Tsai reckons that museums, galleries and even universities could be the alternative distributionchannels to cinemas.The filmmaker has been trying to break out of the system with his recent dealing ofFaces DVDrights. Instead of mass production, Tsai made only 10 copies of the DVD.

Each comes with a wooded box hand-painted by himself and priced at NT$1million (aboutHK$260,000). I want it to be appreciated as an artwork. That way, it will be preserved and seenby a proper audience, he says.

Tsai has also been pushing the boundaries through his recent experimental short films,including Walker, a 20-minute short, as part of Beautiful 2012, produced by Youku, Chinasinternet television site, alongside three other Asian filmmakers Gu Changwei from Beijing, Ann!Hui On-wa from Hong Kong and Kim Tae-yong from Seoul.


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The video, completely stripped of dialogue and plot, follows a red-robed monk walking at snailspace in the midst of Hong Kongs bustling streets.

Walkergarnered mixed reviews. Many critics found it impossible to understand the filmmakersmessage.Pieces likeWalkerare truly precious to me. I dont think I had the courage to make such piecesbefore I turned 50, he says.

I have my own messages, and I dont want to deliver them bluntly.

Tsai is planning to make more Walkerepisodes in different cities his hometown in Malaysia and

France could be the next destinations.

I feel like filming a modern-day Monk Xuanzang, who keeps moving forward just out of good will,he says. So, in the next 10 years, well be walking. I dont know what to expect, but I think itsmuch better than making boring storytelling dramas. I want children to grow up with a variety offilms, not just the commercial kinds.

international newport madrid group fashion reviews ref 81345798500 nig: final curtain | blogger

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