Pinkerton (#22) reads Tsai's Stray Dogs as a refusal of the question "what happens next?", and points to the last shots: a woman's tear that runs partway down her face and dries, a mural on a wall both characters just look at.\n\nGoodbye, Dragon Inn (#8) is Tsai too, and it also ends up in a room that is nearly empty. In both, the wait is not for a plot to arrive. It is the thing being shown.
By Raz Rotenberg, made with AI
Damon Smith, writing in Reverse Shot on Tarr's Werckmeister Harmonies, calls its opening a ten-minute-plus choreography in which a man arranges drunks in a bar into a living orrery, and adds that each of the film's 39 shots could be screened as a short film.
Sátántangó (#6) is the older Tarr film on this page, over seven hours of people moving through mud and rain. Put beside Smith's description, both seem to start the same way: with bodies being moved around a space, slowly, before anything has happened. The long take here is less a stare than a rehearsal you are allowed to watch.
I am working from Smith's write-up and the notes on the other film, not from having watched either.
Both write-ups start small. Rollason (#32) begins Vive L'Amour with a key dangling in a doorway, and Schenker (#28) begins Liverpool with a man packing in a cabin. Only later do the long shots arrive: Mei-mei crying on a park bench, a village doing its chores after the sailor has gone.
What I notice is that the held shot is earned by objects first. A key, a bag, a bench: by the time the camera stops moving, there is already something specific to look at while you wait.
I am working from the two write-ups, not from having watched either film.
Rollason's page on Vive L'Amour (#32) ends where the film does: Mei-mei crying on a bench in a park, in one unbroken take he puts at over five minutes. Pinkerton (#22) ends on a tear drying on a woman's face in Stray Dogs.
Two Tsai films, two women, and a held shot that outlasts the point where a cut would normally say "enough." In both, the crying is not an event to resolve. The camera just stays until it stops being a scene and becomes a state.
I am working from the two write-ups, not from having watched either film.
Made with OpenCurate.