Don't you break my heart?
After firing a colleague, the head of a PR company begins to question her lifestyle and values.
After firing a colleague, the head of a PR company begins to question her lifestyle and values.
Yang has always had an ability to start his films vaguely and slowly bring us closer to the characters, not necessarily attach us to them but to see their faces even if he basically never uses close-up. Here his characters are almost always covered in shadows, there is almost always something we cannot see from them; Yang uses space so masterfully that it leaves us speechless, for example this must be one of the best uses of elevators in cinema. When two characters sit in the same room, mostly in the oppressively small space of car that whisks them through busy city, words of a film that is filled with them, really gain their measure. People are always ready to…
You gotta be SHITTIN me
TFW that fake as fuck life. But the ending is like watching the restart of civilization.
While being labelled as comedy, this film will only make you chuckle cynically by some ironic occurrence that Yang gave to us. And some of them may hit a little too close to home and we'll laugh about it, laugh at it just because we're unseen, hiding and not exposed like those character's simple pain and mundane sufferings. Scattered yet intertwined nicely, these group of confused and lonely characters. And very dialogue driven, so expect nothing but bunch of people having conversation in every corner of Taiwan's modern life.
Lonely people shout the loudest without even opening their mouth. And also empty inside, yet bottling so much emotions at the same time. And faking their happiness on their daily lives…
"While I was reading your financial statement, I felt deeply moved."
While I feel that it does not quite reach the glorious heights of A BRIGHTER SUMMER DAY, it comes very close. It is Edward Yang par excellence: an examination of a group of characters that is at once sprawling and broad in ambition and still intimate and character-focused. And Mr. Yang’s landscape is 1990s modern-day Taipei, and it is also the landscape of the human heart. A wealth of memorable characters such as Molly, Qiqi, Ming, Larry, Birdy, and others populate the scene—almost to the film’s detriment at first as it is so difficult at times to follow the various relationships among the characters. But as the film flows on, it becomes clear that this is about love and romance…
Relentlessly cynical until it isn't at all. The long, arduous and painful process of rediscovering the real.
One of my all-time favourite screenplays, so sharp, so inquisitive and such a fun and vibrant study of character dynamics in the business world. The dialogue itself is wonderful, too, everyone asks questions and no one has the answers -- everybody wants gossip and information and scandal but no one actually has any.
Yang's most accessible film, yes, but also his most politically-charged, and the balancing act pulled of here is just further proof of his genius.
Inventing the Future tuvo decenas de comentarios estúpidos los días después de su estreno. Entre ellos, uno que acusó a la cinta de ser colonialista por reflexionar sobre el futuro e intentar confeccionar una nueva fantasía de progreso. Si esto es estúpido no es sólo por que un yankee aleatorio acuse a Medina, cuya ascendencia es filipina y tiene contactos con varios familiares del país -siendo log 2 su trabajo más enfocado en ese aspecto- como si no fuese parte del eje evidente de su discurso; sino por la falta de consciencia de que aquellas culturas más interesadas y que más se han esforzado en pensar el futuro y vender ese progreso como una fantasía son las del este asiático…
“While I was reading your financial statements, I was moved. Because I read them from your innermost passions.”
Edward Yang’s grounded romantic sitcom is a sharp and witty urban style only hinted at in other works. A Confucian Confusion is quite the surprise to any fan of the Taiwanese New Wave as it brilliantly meshes the already established pillars of the style while tone-meshing so perfectly. I adore the way this film blends this attitude towards the nations and how the western idea of work and love are seeping, and how to deal with such an issue.
It’s extremely odd seeing this in Edward Yang’s catalog, but strictly as a romantic comedy this is some of the best cinema the genre has to offer, and you’d be hard pressed to find better. The talent on and off camera is in abundance and the mood is so infectious; loved every minute!
Edward Yang, through his masterful writing and direction, has the unique ability to allow the viewer to become intimately familiar with his characters, after only a very short amount of time. His films consistently feature some of the most intricate relationships ever put to film, creating a web of friends, relatives and lovers. The narratives weave through many characters and storylines, all linked in very detailed and specific ways. Every time I start one of his films, I feel slightly lost with the amount of information I am presented with; however, very quickly, I begin to understand the characters and their relations to each other, almost entirely through dialogue. A Confucian Confusion is no exception to this, demonstrating the immense…
If you thought Edward Yang's other movies had dialogue that was too on-the-nose, wait until you get a load of this. "A Confucian Confusion" is Yang's most dialogue-driven film, and the dialogue is notoriously arch even by Yang's standards. It's almost as if Charlie Kaufman wrote it if a) he spoke Mandarin and b) he was interested in subjects other than male solipsism. The result is amazing, but also a little vexing. After all, Mandarin does not lend itself well to satirical dialogue, especially if delivered with a Taipei cadence that is naturally flat.
Yet the quality of the writing is definitely there, and is filled with word play and incredibly pointed references of everything from Confucius to Chiang Kai-shek…
Yang Series 7
“Life is really simple, but we insist on making it complicated.”
This is probably Yang’s fastest paced work I’ve seen. It zooms from scene to scene, with some of the most effective use of title cards outside of Barry Lyndon.
The setup is, also quite contrary to other EY films, pretty multilayered. Where most of his are single narratives that slowly layer things one on top of another, or one clear triptych from the start, this begins with approximately ten different things set up.
Another atypical bit of Yang, yet as always appreciated, is how wordy this script is. There’s inter titles, lots of dialogue sequences, and not a lot of dwelling in silence. May be…
tayvan sinemasına kadar her ülkenin sinemasından en az 1-2 film izlemişimdir
"Nada dura para sempre. Tudo está sempre mudando."
A forma como Yang explora os temas de identidade em uma ascenção capitalista é simplesmente de uma incrível maestria. Saber que esse homem nunca mais vai fazer um filme me dói no fundo do coração.
A movie that pinched society while representing me, but is only a prop for a director. (Up)
ok this is definitely one of my favorite movies, the last 20-15 minutes of it just clicked with me it’s so beautifully done i have nothing more to say honestly everything built up so well. there are definitely some that might get bored but that’s nothing new when it comes to yangs films.
First i wonder what the movie is all about and by the end, im positive that i wouldnt be able to explain the gist of the narrative but only what these people have gone through. Yang has the ability to balance out a multi-charactered narrative cohesively that sumed up to a rather positive finale. (No one died!)
I wish I saw this and Mahjong(1996) in a better print. Both these films need restoration.
My fascination with Edward Yang began when I randomly decided to watch The Terrorizers a couple weeks into quarantine. I was amazed at the way that Yang was able to explore the concepts of identity through this tangled web of characters that all connect together. Obviously, that was not a fluke. Here, Yang does much the same, but goes about it in a completely different way. The rom-com genre of A Confucian Confusion contrasts heavily with The Terrorizers’ crime-thriller/drama, and the theme of identity is replaced with themes of honesty and love. But in much the same way as before, Yang is able to carefully construct this wide-array of characters that are all incredibly unique, yet fit together like jigsaw-puzzle…
Nowhere near as massive as A Brighter Summer Day or Yi Yi, yet I still feel completely incapable of writing about it. All I know is that sadly this has only grown in relevance since its release, especially in the United States, where neoliberalism has engendered everyone's personal hell of empty careerism. Like another review mentions, everything is a transaction in this film, & everyone's awareness of it as such, instead of freeing them, only mires them worse in their loneliness. "Once you are trapped in the dream of the Other, you're fucked," Deleuze wrote. Everyone in this film has a projection of their other lit & lensed by capital. They stand on the threshold of deciding whether to become all-too-human, or…
how the fuck does this man edward yang do it?? what an insanely brilliant writer first off, all of his stories are dense as hell and he is so good at using taipei as a backdrop in everything he writes. other people have said this but i love the way yang introduces his characters, slowly revealing them to you. don't wanna sound like "that guy" but you know, this movie could really use a proper restoration. if you compare the differences between how a brighter summer looked before and after it got restored, you can see how much the movie changes. even in the shitty quality copy i found, i could tell the camerawork is just as insane as ever, as to be expected with yang. what an inspiring filmmaker, every time i watch a movie from him i want to make a movie too.
*Youtube* - watchable, but looking forward to seeing a restoration of this [A-]
i love the acting and the story shifts. if only we can sacrifice shitty filmmakers just to bring back edward yang again.
@Ienscap 127 films
Checked often and includes links, based off my location in the UK so a VPN might be necessary.