A disciple of Taiwanese New Wave cinema and a sought-after director of television soap operas, Niu Chen-zer (鈕承澤) felt the urge to direct his debut feature film when approaching 40.
The result is What On Earth Have I Done Wrong?! (情非得已之生存之道), a film about making a film that won the Fipresci prize at last year’s Golden Horse Awards (金馬獎) for Chinese-language films and the Netpac award at International Film Festival Rotterdam this year.
The movie opens with Niu becoming inspired to make a mockumentary that satirizes local politicians. After securing a government subsidy to produce the film, the aspiring director assembles a production crew and a savvy producer to track down the extra money needed to complete the movie.
PHOTO COURTESY OF HONTO PRODUCTION
Like many filmmakers in Taiwan, Niu quickly finds out that scraping together enough cash is a mission impossible. Impetuous and frustrated, Niu gambles some of the government money on the stock market in the hope of winning big, courts gangsters, splurges on drugs, booze and prostitutes and pimps out his actresses to keep potential investors happy.
Meanwhile, Niu’s love life with actress Ning Ning (played by Chang Chun-ning (張鈞甯)) spins out of control because of his adultery and lying. The film gets off the ground but is diverted from its original course to become a wild self-portrait of the director.
With a deliberately low-budget, hand-held documentary look, the film offers voyeuristic pleasure by probing the grimier aspects of filmmaking and presenting the bold self-confession of Niu as a filmmaker who is willing to resort to any means to attain his goal.
PHOTO COURTESY OF HONTO PRODUCTION
The movie’s attraction lies in its guileful fusion of the fictional and the real. The illusion of documentary is maintained by interviews with such public figures as Chinese Nationalist Party (KMT) Legislator Chiu Yi (邱毅), shots of the fugitive former Rebar Group chairman Wang You-theng (王又曾) before he fled the country, as well as deadpan supporting cast members playing themselves.
Niu’s ability to laugh at himself infuses the film with plenty of funny moments. Just when members of the audience feel settled down to see the work as a self-portrait of a director charmingly grumbling over his trade and the moral predicaments he faces, the film takes a melodramatic turn, which shan’t be divulged here.
Though this exercise in self-reflexivity is prone to self-indulgence, with a sharp script, natural acting abilities of its cast and the actor-turned-director’s own charisma, What on Earth Have I Done Wrong?! is an enjoyable cinematic outing.
The canonical shot of an East Asian city is a night skyline studded with towering apartment and office buildings, bright with neon and plastic signage, a landscape of energy and modernity. Another classic image is the same city seen from above, in which identical apartment towers march across the city, spilling out over nearby geography, like stylized soldiers colonizing new territory in a board game. Densely populated dynamic conurbations of money, technological innovation and convenience, it is hard to see the cities of East Asia as what they truly are: necropolises. Why is this? The East Asian development model, with
This is a deeply unsettling period in Taiwan. Uncertainties are everywhere while everyone waits for a small army of other shoes to drop on nearly every front. During challenging times, interesting political changes can happen, yet all three major political parties are beset with scandals, strife and self-inflicted wounds. As the ruling party, the Democratic Progressive Party (DPP) is held accountable for not only the challenges to the party, but also the nation. Taiwan is geopolitically and economically under threat. Domestically, the administration is under siege by the opposition-controlled legislature and growing discontent with what opponents characterize as arrogant, autocratic
June 16 to June 22 The following flyer appeared on the streets of Hsinchu on June 12, 1895: “Taipei has already fallen to the Japanese barbarians, who have brought great misery to our land and people. We heard that the Japanese occupiers will tax our gardens, our houses, our bodies, and even our chickens, dogs, cows and pigs. They wear their hair wild, carve their teeth, tattoo their foreheads, wear strange clothes and speak a strange language. How can we be ruled by such people?” Posted by civilian militia leader Wu Tang-hsing (吳湯興), it was a call to arms to retake
When Lisa, 20, laces into her ultra-high heels for her shift at a strip club in Ukraine’s Kharkiv, she knows that aside from dancing, she will have to comfort traumatized soldiers. Since Russia’s 2022 invasion, exhausted troops are the main clientele of the Flash Dancers club in the center of the northeastern city, just 20 kilometers from Russian forces. For some customers, it provides an “escape” from the war, said Valerya Zavatska — a 25-year-old law graduate who runs the club with her mother, an ex-dancer. But many are not there just for the show. They “want to talk about what hurts,” she