OTHER RELEASES | |
Klimt John Malkovich plays yet another talented but troubled character, this time Austrian artist Gustav Klimt (1862-1918). Klimt is famous for nude portraits and a lifestyle that defied social norms; both feature in this loose biopic by hardworking director Raul Ruiz. Critics were largely dismissive of this effort, though more or less united in their praise for its visual beauty and honorable intentions. Alas, the version showing in Taiwan seems to be the shorter — and inferior — producer's cut that was released in the US. | ![]() |
The Valet Yet another Parisian romance to hit Taiwanese screens this winter, this comes from director Francis Veber, who wrote the original La Cage Aux Folles and a bunch of other films later remade in Hollywood. More comedy of errors than manners, the luckless parking attendant of the title is called on to pretend to be in a relationship with the mistress of a wealthy businessman after the latter two are caught in a reasonably compromising position. Fans of farce should enjoy this. French title: La Doublure | ![]() |
Kung Fu Fighter (功夫無敵) A number of actors from Kung Fu Hustle (功夫) turn up in a cheap knock-off that is also set in Shanghai in the 1930s. But Stephen Chow (周星馳) is not one of them. Vanness Wu (吳建豪) of F4/JVKV fame tries to locate his father as romance blossoms and triads close in. The trailer alone reveals a lack of Chow's visual flair and his ability to mingle the spectacular with the bizarre. Chow’s many fans instead need to wait until Jan. 31, which is when his new big-budget film CJ7 opens in Taiwan. | ![]() |
The House If you didn't get your fill of Thai horror flicks last year, the new year offers this entry. A reporter connects the dots in a series of grisly deaths at a haunted house, only to discover that she might be next in line. The House is getting more publicity than normal for a Thai horror opus, possibly because it performed quite well at the Thai box office. Decent production values may not appease those looking for a little more originality, however. Director Monthon Arayangkoon also made last year's The Victim, which did well here, and 2004's Garuda, about a monster in the Bangkok subway. | ![]() |
Nine Taiwanese nervously stand on an observation platform at Tokyo’s Haneda International Airport. It’s 9:20am on March 27, 1968, and they are awaiting the arrival of Liu Wen-ching (柳文卿), who is about to be deported back to Taiwan where he faces possible execution for his independence activities. As he is removed from a minibus, a tenth activist, Dai Tian-chao (戴天昭), jumps out of his hiding place and attacks the immigration officials — the nine other activists in tow — while urging Liu to make a run for it. But he’s pinned to the ground. Amid the commotion, Liu tries to
A dozen excited 10-year-olds are bouncing in their chairs. The small classroom’s walls are lined with racks of wetsuits and water equipment, and decorated with posters of turtles. But the students’ eyes are trained on their teacher, Tseng Ching-ming, describing the currents and sea conditions at nearby Banana Bay, where they’ll soon be going. “Today you have one mission: to take off your equipment and float in the water,” he says. Some of the kids grin, nervously. They don’t know it, but the students from Kenting-Eluan elementary school on Taiwan’s southernmost point, are rare among their peers and predecessors. Despite most of
A pig’s head sits atop a shelf, tufts of blonde hair sprouting from its taut scalp. Opposite, its chalky, wrinkled heart glows red in a bubbling vat of liquid, locks of thick dark hair and teeth scattered below. A giant screen shows the pig draped in a hospital gown. Is it dead? A surgeon inserts human teeth implants, then hair implants — beautifying the horrifyingly human-like animal. Chang Chen-shen (張辰申) calls Incarnation Project: Deviation Lovers “a satirical self-criticism, a critique on the fact that throughout our lives we’ve been instilled with ideas and things that don’t belong to us.” Chang
Feb. 10 to Feb. 16 More than three decades after penning the iconic High Green Mountains (高山青), a frail Teng Yu-ping (鄧禹平) finally visited the verdant peaks and blue streams of Alishan described in the lyrics. Often mistaken as an indigenous folk song, it was actually created in 1949 by Chinese filmmakers while shooting a scene for the movie Happenings in Alishan (阿里山風雲) in Taipei’s Beitou District (北投), recounts director Chang Ying (張英) in the 1999 book, Chang Ying’s Contributions to Taiwanese Cinema and Theater (打鑼三響包得行: 張英對台灣影劇的貢獻). The team was meant to return to China after filming, but