Time moves slowly, as ever, for Malaysian director Tsai Ming-liang’s, as seconds become minutes, minutes become hours, and hours become “Days,” a gentle return to form in which Tsai’s longtime star…
’s, as seconds become minutes, minutes become hours, and hours become “Days,” a gentle return to form in which Tsai’s longtime star, Lee Kang-sheng, is shown suffering from some unknown physical ailment, finding short-lived solace in the hands of a stranger in Bangkok.
He never stopped shooting; he merely shifted his focus, concentrating more on virtual reality and short-form projects for art institutions, while embracing and experimenting with the relative versatility of HD cameras — tools which may as well have been invented with his aesthetic in mind and which, according to a critic writing for the BFI site last year, “pointed to the durational potentiality of Tsai’s cinema in a newly digital idiom.
Meanwhile, in Bangkok, a shirtless younger man prepares a meal in his kitchen. Sometimes, he wanders out of the frame, and Tsai leaves the camera running while the makeshift oven smolders in the foreground. “Days” never explains how Lee’s character meets this young man, but roughly an hour in, the actor appears in an unfamiliar hotel room, counts out his cash, locks the rest in the room safe and lies down on the bed naked.
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