Richly ruminative, the films of Tsai Ming-liang locate oases of calm and introspection amidst the hustle and bustle of the contemporary urban world that his isolated and alienated characters—among them, always, longtime collaborator Lee Kang-sheng—move through, alight with muted yearning. In Goodbye, Dragon Inn and Days, you can see Tsai’s cinematic distillations of a Taipei cinema and the streets of Bangkok and Hong Kong; in Afternoon, Tsai describing his life, loves, and process; in all three, the steady hand of a master.
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