#Taiwanese Movie Review

[vivianstravelblog]

Themed Movie Reviews: Taiwan LGBT Movies on Netflix

After watching “Marry My Dead Body,” I decided to finally tackle my list of the gay Taiwan films available on Netflix: “Eternal Summer,” “Your Name Engraved Herein,” and “Dear Ex.” Here are my reviews for them. ~ Warning! Spoilers! Taiwanese Movie Review: “Eternal Summer” 盛夏光年 shèng xià guāng nián (2006) ~ “Eternal Summer” is the oldest of the three and my least anticipated. Kang Cheng-hsing…

[pillarboxed]

Taman-taman (Park) (2024) Review

Director: So Yo-hen

Runtime: 101 minutes

Language: Indonesian and Javanese audio; Mandarin (繁體) and English subtitles

Certification: PG13 (Singapore; smoking scenes)

Via SGIFF.com

Can Taman-taman (Park) be considered a documentary? The film seemed like one to me as I watched it. But there were some elements that felt contrived. Still, it won three prizes at the 14th Taiwan International Documentary Festival (TIDF) earlier this year. “The Grand Prize of the Asian Vision Competition goes to a more or less non-fiction film,” says the jury comments. I like that description: “more or less non-fiction”.

Well then, it’s a documentary talking about the experiences of Indonesian migrants in Taiwan. I say “talking” because that’s what the bulk of the film depicts: two Indonesian men, Asri and Hans, having conversations in Tainan Park. It’s mostly through their conversations and through poetry rather than visuals that we learn about what they and fellow migrants experience.

Asri contributes much of the poetry presented in Taman-taman, including a poem about a worker who picks up his girlfriend on an electric scooter. We do get to see Indonesian scooter enthusiasts hanging out in the park, and a group—either the same one or another—singing together, but other than these, we don’t observe the discussed events. Though using this elliptical technique can make the audience feel detached, it means the film avoids exploitation of the subjects’ struggles for the sake of drama, a risk of documentary filmmaking.

Speaking of the scooter enthusiasts, they appear in one of those parts that feels contrived. Because it is. After Asri and Hans talk about the scooterists, they get up from a table and walk through the park. Scooterists soon circle around them in a neat line, and the two carry on as if nothing’s unusual. In a Q&A session at the 35th Singapore International Film Festival (SGIFF35), director So Yo-hen said that the first time they shot this scene, some scooterists did appear but not as many. After the filmmakers got more scooterists, Asri and Hans repeated the scene.

I’m guessing the decision to recreate the scene this way was to maintain viewer interest. I recall hearing light laughter from the audience at this moment.

But I wonder if there’s some other reason for the fictional elements in the film. For example, the radio station that Asri and Hans pretend to run, inspired by stones with embedded speakers found around the park. The two sit in a guard hut when they “host” their radio show. With its bright red lightbulb acting like an on-air sign, the hut does look as if it could be a studio. Hans blends Indonesian and Mandarin to come up with the name Ini Radio Yinni, meaning “This is Radio Indonesia”. The concept of the programme is to share stories of Indonesian migrants in Taiwan, accompanied by readings of poetry inspired by these experiences.

In a Facebook post from May, Asri says that the Taman-taman “film project sought to give voice to the experiences of migrant workers in Taiwan, with all the ups and downs of their lives”. So why blend fiction and reality? Why not use non-fiction material only? Why do we mainly hear about the experiences of migrant workers through Asri and Hans, and not through the people they speak about as well?

According to a bio provided by the 12th Momentum biennale, So Yo-hen and his filmmaking group Your Bros. “take filmmaking as a method to re-interpret reality.” In film critic Jason Tan Liwag’s review of Dorm (2021), a previous work by the group, he states that “documentary is not reality itself, but a reflection, refraction, and reconstruction of an accumulation of experiences.” Maybe this is what Your Bros. are trying to get the audience to remember.

Throughout Taman-taman, the filmmakers remind us that what we see is through their lenses. The opening scene directly shows us one crew member who’s helping to set up the shot. We also hear a voice telling Asri and Hans, who describe their roles in the film as “actors”, that they can start. Each time Ini Radio Yinni “airs”, the hosts tell listeners not to worry if they see people filming in Tainan Park, because the film might not actually be made. In the last scene that Asri appears in, there’s crew members onscreen again—well, the shadows of them and their filmmaking equipment are onscreen, all following Asri.

After my first watch, I thought it was unlikely that I’d write a full-length review of Taman-taman. I related to Asri during a scene in which he and Hans discuss their thoughts on the project so far. Asri says he’s tired of filming and doesn’t even understand what message the filmmakers are trying to convey. I couldn’t see where the film was going and was getting bored. On the other hand, Hans seems satisfied with the idea of letting the audience come up with their own ideas and says that the more he works on this project, the more interested he gets.

In the process of writing this review, I realised Taman-taman is more intriguing than I originally thought. I still relate more to Asri’s confusion than to Hans’ playful curiosity, though.

Rating: 3.5/5

Thank you to SGIFF for the Cinephile Pass and for the screenings of Taman-taman.

[rickchung]

Dìdi (弟弟, dir. Sean Wang).

Set in the recent past of the summer of 2008 in the Bay Area, [the] Oscar-nominated Taiwanese-American first-time filmmaker [...] takes his own experiences growing up to tell a tender coming-of-age story. Wang's small-scale, semi-autobiographical indie drama is rich with details of its time period featuring juvenile humour about friendship, crushes, and fitting as the son of an immigrant mother.

[tinyreviews]

Tiny Review: Abang Adik 2023. Tragic brotherhood in Malaysia.

I like how the end feels cathartic and tragic at the same end. Done well by having each brother embody each feeling. 

I love the details. The eggs, the comb, the shirt. They all brought tears to my eyes 😭

Abang Adik (Malay: 'Abang Adik'; Chinese: 富都青年, lit. 'Pudu Youngsters') is a 2023 Malaysian-Taiwanese neo-noir crime drama film written and directed by Jin Ong in his feature directorial debut. It stars Wu Kang-ren and Jack Tan, with Serene Lim, April Chan, Tan Kim Wang, and Bront Palarae.

[horrorhodgepodge]

Incantation [31 Days of Horror: Day 18]

🦇Summary Tonight, we’re exploring the found-footage horror genre with “Incantation,” a Taiwanese film that has been dubbed one of the scariest movies ever made. 📼 A mother tries to break a curse that has plagued her family for years, but her efforts only unleash a terrifying evil. 👿 This disturbing and immersive film will leave you questioning your own beliefs and fears. 🙏 📚Themes & Topics:…

[the-story-dragon]

Marry My Dead Body (2022)

This movie honestly surprised me. I went into it knowing fully well that it was not BL and hence I was not expecting to be very invested in it. The movie started off with action scenes and corny jokes that really set the atmosphere for what the rest of the movie was going to be like. The direction and camera-work really did convey the comic nature of the film and I was just watching it for entertainment purposes for majority of the movie. The leads were pleasant to look at, the acting was really nice and the plot was plotting somewhere even if some of the twists were kinda obvious.

I did not like the nudity aspect of the film much as I did not see how exactly it added to the story? But it was not overdone and hence did not take anything away from the story. Perhaps I did not like the use of nudity for comedy purposes.

It is honestly a good movie to watch for time-pass. It is not something you'd get invested in for the plot. But it definitely offers comfort characters, found family (kinda?) and corny humor that really does make you feel good. And there is character development that progresses in a sensible manner and is honestly quite heart-warming to witness. It is a light-hearted movie.

That being said, I was absolutely not expecting to BAWL MY EYES OUT during the last 20-30 mins of the movie. I did not see that coming and it was a pleasant surprise.

"I'm talking to my husband"

THE WAY I SCREECHED AND THEN BROKE DOWN SOBBING DURING THAT SCENE.

Man, definitely not what you'd expect from the atmosphere the movie has set right from the beginning.

At first, the stereotyped representation of the LGBTQ+ community did kinda put me off. But it was handled really well and so cornily that you even forget to be be offended for the rest of the movie.

The movie is.......warm. It is yellow. That's how I want to describe it. Despite the corniness (I've used the word corny a lot; I can't think of a better word) of it all, there are scenes that are serious and meaningful and it has all been managed so delicately and so beautifully.

The actor who plays Ming-han emotes really really well and I was constantly in awe of his acting throughout the film. I laughed with him and cried with him and got mad with him and felt embarrassed with him. It was such a pleasure to watch him on screen.

Definitely a comfort-watch and I'm pretty sure I will find myself re-watching the last 30 mins in the near future just for the feels.

Overall, 7/10.

100% would recommend.

[mokkung]

（短評）映画『呪詛』

（引用元）

『呪詛』（2022年、台湾、原題：咒、英題：Incantation）

児童施設に預けていた娘と久しぶり生活を再開した主人公👩‍👧しかし次々と奇妙な出来事が起こり始める‼️

一体何が起きているのかを、過去の自撮り映像記録で振り返るファウンド・フッテージ形式で次第に紐解くスタイルが奏功しており、怖いしミステリー性も高い台湾発の良作ホラー映画😱

ファンド・フッテージを最後まで上手く活かしているし、情報を小出しに見せる方法として自撮り映像が非常に上手く機能していて面白かったです‼️

普通に怖かったです😣

特に怖かったのは、単にキモい、グロいで勝負するわけではなく、主観映像で自分も体験するかのようにやばい映像を見せる場面💨

主人公と娘が関係を取り戻したステップが割とすっ飛ばされてる感じはしましたが、怖さ重視なのでこれで良かった気はします👌

主人公を演じたツァイ・ガンユエンは、悲壮感のある竹内結子って感じで、ハマり役だったと思います👍

村の人たちも妙な気味悪さがあり嘘なのにリアル感を生んでました‼️

[geekgroovy]

Movie Review: Didi Directed by: Sean Wang Runtime: 1 hour and 33 minutes

Sean Wang’s Didi is a tender and introspective coming-of-age story that explores the complexities of identity, family, and self-discovery. Set during the summer of 2008, it follows the 13-year-old titular character, a Taiwanese American boy, as he navigates the last stretch of childhood before high school begins.

Didi is at an impressionable age, and the film poignantly captures the small yet transformative moments that define adolescence. From learning how to skate to experiencing his first crush, Didi’s journey is one of growth and self-expression. But at its core, Didi is also a story about family—specifically the bond between Didi and his mother.

Didi’s mother is a deeply layered character, masterfully portrayed by Joan Chen as both protective and quietly longing. She has sacrificed her dreams of being an artist to devote herself to her son, a decision that informs their relationship in profound ways. Her love is unwavering, but it’s tinged with the melancholy of a life redefined by responsibility. This dynamic adds emotional depth to the film and serves as its beating heart.

While Didi is filled with powerful and relatable moments, it struggles with pacing. Certain scenes feel drawn out, and the narrative occasionally drags, making the relatively short runtime feel longer than it is. A tighter edit could have enhanced the film’s impact, allowing its emotional highs to resonate more effectively.

Despite these flaws, Didi shines in its authenticity. Wang’s direction is sensitive and observant, capturing the nuances of teenage uncertainty and the quiet struggles of immigrant family life. The nostalgic 2008 setting adds a layer of charm and relatability, especially for viewers who grew up in the same era.

Though it’s not without its shortcomings, Didi is a heartfelt exploration of love, sacrifice, and the bittersweet transition from childhood to adolescence. Its emotional core and cultural specificity make it a film worth watching, even if it occasionally falters in its execution.

Rating: C-

[ogradyfilm]

Recently Viewed: The Assassin

[The following review contains MAJOR SPOILERS; YOU HAVE BEEN WARNED!]

While The Assassin is often classified as a wuxia film, it is anything but conventional. Hou Hsiao-hsien omits many of the structural and stylistic elements traditionally associated with the most formulaic version of the genre (as established by the likes of King Hu and Chang Cheh), instead emphasizing pure visual splendor.

The movie is not, however, just an empty spectacle; on the contrary, every image is dense with meaning, conveying theme, conflict, and characterization not through tedious exposition, but rather through the juxtaposition of stillness and movement, the elegantly purposeful shot composition, and the poetic rhythm of the editing. Consider, for example, the early scene that I’ve excerpted below. Notice how the protagonist is literally “boxed in” by her surroundings as her mentor admonishes her for apparently lacking the conviction to kill without hesitation or remorse—reflecting how she feels trapped by her duties and obligations.

When the conversation is essentially repeated later in the narrative, albeit under drastically different circumstances—our heroine has grown more openly rebellious, blatantly and unapologetically disobeying explicit orders—the framing is significantly wider. Additionally, the rigid architecture is replaced by a sprawling natural landscape—which is gradually obscured by thick, billowing mist as the relationship between master and subordinate grows increasingly turbulent.

I realize that I’m not contributing much commentary here, but the written word is simply incapable of adequately describing the appeal of a story that is so inherently, fundamentally cinematic; those screen grabs speak clearly enough for themselves.

Ultimately, The Assassin features the exact tone and atmosphere that you’d expect from the director of Three Times, Flowers of Shanghai, and Café Lumière: patient, quiet, and almost hypnotically, seductively contemplative, punctuated by pregnant silences and peppered with poignant ellipses. It is, in short, a martial arts adventure that is as atypical and idiosyncratic as it is profound, transcendent, and unforgettable.

[horrorlamb]

Incantation.

Spoilers ahead. I have to be honest with you guys, this is the 3rd time I have tried to watch this movie. The first time I had a friend over for a horror movie Sunday, we got bored about half way through and turned it off, I tried again by myself a few months later and fell asleep. But everyone raves about how good this movie is, so I really want to give it a fair shot and at least judge it based…

[moviesandmania]

THE TAG-ALONG 2 Reviews and free to watch online

The Tag-Along 2 is a 2017 supernatural horror film directed by Wei-Hao Cheng (Who Killed Cock Robin?; The Tag Along) from a screenplay by Shih-Keng Chien (The Tag Along; The Fatality; The Victim). Also released as The Haunted The movie stars Rainie Yang, Wei-Ning Hsu and Francesca Kao. Plot: A mother goes in search of her missing teenage daughter after her sudden disappearance. She is told that…

[vivianstravelblog]

Asian Movie Review: Marry My Dead Body

~ Warning! Minor Spoilers! Taiwanese Movie Review: “Marry My Dead Body” 關於我和鬼變成家人的那件事 (2022) ~ REVIEW Since “Someday or One Day” 想見你, Greg Hsu 許光漢 has had a consistent rise in fame and popularity. He is a talented and handsome actor, and I would like to watch more of his works. However, I started “Marry My Dead Body” because two coworkers and I were discussing Chinese superstitions, and one of…

[forget-foal]

One Movie From Every Country pt. 5

A few days ago, I got around to watching 1967's Dragon Inn by King Hu, the seminal wuxia film from Taiwan.

This film tells the story of three highly skilled warriors defending the banished children of a murdered general from further retribution by a power hungry, recently appointed eunuch to the Chinese emperor.

This was actually the first wuxia film I've ever seen, and I kind of just stumbled on it when looking through the Criterion Channel. I'm really glad I watched it though, it was incredibly entertaining. Not only was it great camera work, it had super fun and engaging action sequences which very clearly influenced future action films (John Wick comes to mind).

The characters were also very likeable and I found myself cheering them on at some points. It was just so fun to watch them kick so much ass. And that fight sequence at the end with the eunuch? Such a badass ending.

It was really great, and it definitely gave me an interest in the wuxia genre and I'm super excited to watch more.

8/10

[thefakebourgeois]

#MoviesIWatch - Millennium Mambo (2001)

Girl can't get out of a toxic relationship. There's nothing 'hǎo' about Hao-hao. I could watch that opening scene over and over.

The mood created by Hou Hsiao-Hsien was splendid but my mind kept wandering about. Might be worth revisiting later.

#tinyreviews

[salvadorbonaparte]

Strange and wonderful things happening in the reviews of this random Taiwanese romance movie

[mokkung]

（短評）映画『哭悲 THE SADNESS』

（引用元）

『哭悲 THE SADNESS』（2021年、台湾、原題：哭悲 The Sadness）

流行するウィルスが変異してヒトを凶暴化する感染症となり大流行🦠街中で殺し合いが始まった中を逃げ惑うホラー映画‼️

怖い！キモい！ではなく 不快🤮（褒めてます）

不快のコンボで本当に嫌な気持ちにさせる（褒めてます）、ゾンビ・パンデミックの過激な変化球映画🧟‍♂️

すごいですコレ💧

良いテンポで次々とことが進むのはハラハラするし見ていて面白い👌

男性嫌悪的な演出がちょっと極端な気はしなくもないですが、凶暴化して迫り来る不快なオッサンのインパクトはすごい👴

目を伏せたくなる恐ろしい状況なのに、あまりにも過激すぎることが起こって、ちょっと笑っちゃうような展開も😅

ゾンビとは違って、理性のリミッターが外れてるだけで、会話もできて思考力は残ってるという設定が面白いですね👍

感染の広がり方のスピード感が良くそれが展開に上手く生かされていました‼️

数あるスプラッター映画やゾンビ映画から抜きん出た良作だと思います、不快なので万人に勧めませんけど💧