1981
極佳作。 穿插文學般的旁白與畫面，算命師走過，算命師與死神交錯，算命師老去，不再有未來。河裡的鋼琴⋯⋯。 史蒂芬先生射殺王學後，踢開門可見整片大海，令我想起寺山修司寫過「淚水是人類所能製造最小的海洋。」
1:16:22 你自由了，你可以去任何你想去的地方，但若你願意，你也可以留下，
14:09 ：沒有鏡子，我看不到我自己的樣子，失去了自我 背景到處看到很多景片或畫上去的人形
11:47 春桃園後面的小餐館 色調很灰暗 表演感覺還是很日本人 王學 媽媽 講日文 王學偷看對面的娼館
11:28 我的房間 不，是我的囚牢 愛是我的囚牢 這不就是我一直在找尋的囚牢嗎？
14:31 飾演媽媽桑的池畑慎之介出演過黑澤明的《亂》，也在《薔薇的葬禮》（伊底帕斯王東京現代ver.；Giloo也有上）中擔任同志酒吧的異裝癖主演。他飾演女役很有味道（完全壓過ㄌ女主和一眾女角們我覺ㄉ@@） 甚至還在Death Note裡幫彌海砂的死神雷姆配音！
0:13 引波特萊爾，也許只是想要取性／污穢／殘虐之美的意象；沒看過O孃，不確定跟原著的關係為何。看完全片回來，覺得這樣起頭是也有起到某種點題的作用——現代化罪惡之城當中的生死、肉慾、愛情——而諸如片中一些色彩斑斕的濾鏡，也予人了那麼一點象徵主義的味道，嗎。 不過充斥四處的現代畫作與相關符號還是造作得有些惱人。而日本對「中華」的想像，也總是不脫這些特定要素與奇異各國口音的大雜燴。 原詩〈沈思〉（Recueillement） 聽話，哦我的痛苦，別這樣吵鬧。 你要黑夜；它下來了；它就在此； 有人得到安詳，有人得到苦惱； 一種昏暗的氛圍裹住了城市。 卑劣的凡夫俗子們結隊成群， 挨享樂這無情屠夫的鞭子抽， 去到卑屈的節日上探擷悔恨， 我的痛苦啊，伸出手，打這兒走， 遠離他們。看那悠悠歲月俯身 在天的陽臺上，穿著過時衣裙； 從水底冒出了笑盈盈的惋惜； 垂死的太陽已在橋拱下睡熟， 彷彿拖在東方的長長的屍衣， 聽，親愛的，聽溫柔的夜的腳步。
＃臺大電影節 自我囚禁與選擇不自由的自由 場景以獵奇與奇觀的構成，侏儒、動物的形象、特殊的道具、強烈的色彩運用，顯示西方世界以馬戲團觀看「中國」的方式。不時出現的人物看板以及牆壁上的壁畫與西方人的五官再度強調了電影世界中的虛構與多國文化並存再建構的魔幻（片中的中國人以日語對話），上海異人娼館以有距離感的詩意描繪了一段自我囚禁的故事。 但故事中看不到O的堅決也感受不到史蒂芬的猶疑，或許這樣的情緒表現也暗示兩者終究追求的是一種永遠也達不到的一種理想狀態，精神的柏拉圖世界，自己設立的自由囚籠。
#臺大電影節 「你自由了，你可以去任何想去的地方。」旁白這麼說著，但片尾最後的O又掛回了往常那副心事重重的表情，直勾勾地盯著鏡頭，彷若這句話對她來說毫無意義。當情感再無依託之處，無所限制的自由成為了最大的枷鎖。 O愛過史蒂芬，總說著「你想要的就是我想要的。」O總是以一種極為冷漠的眼神凝望這個世界。她愛史蒂芬嗎，或許吧，但另一個男孩給了她真正的歡愉，到那一刻O才發現，史蒂芬也許根本不知道自己想要什麼。 娼館中充斥著空洞，性是空洞的、情感亦然，這樣的空洞彷彿瀰漫在整個上海。電影中的性總以種近乎暴力、單方面的形式被呈現在觀眾眼前，這樣的影像難得的將性與色情脫鉤，極致的情感空洞將性交易化約為一連串的肉體碰撞，形色各異的娼妓更是為電影形塑了一種難以言喻的奇幻荒誕的氛圍。怪異地毛骨悚然的同時，卻又極度迷人。
In this universe, I’ve achieved nothing. In every universe, he loves her. Every page turned, every frame played—we enter your private universe: vast, boundless, infinite. In 2022, Everything Everywhere All at Once took pop culture by storm, flinging us across chaotic multiverses only to land us back in the deeply personal struggles of an Asian American family. The 2023 Taipei International Book Exhibition adopted “The Multiverse” as its central theme. To TAAZE, every reader’s private reading list is its own Ma-verse. And for this occasion, Giloo has curated 10 films to join the multiverse spin. Universe spin, timeline split— who says it can’t be a resistance?
Some feelings can only be acted upon, never spoken. Some desires simmer like volcanoes, erupting into twisted yet pure magma of life. Some people, once in love, burn themselves alive like moths to a flame—madly in love, deeply in pain. Some love cold as death, where a near-death experience unlocks raw desire, revealing that what could kill you... may not be fatal at all. Giloo presents six brand-new XX films, inviting you to surrender your senses. Whether it’s the melancholy of animals after sex, or the liberation of desire through sex, they’re not the kind of XX films you think they are. You ask what XX means? You can do it—but you can’t say it.
The late Taiwanese writer Lee Wei-jing wrote in her book I Am Hsu Liang-liang: “But how could you blame a girl? Isn’t that what girlhood is? Only through an intense yearning for love can one generate the power to change the world. The ability to defy the universe—that is the essence of a girl’s strength.” A girl’s love, youth, and sorrow have long served as the most compelling themes in art—and the ones most longed for by creators. Through the devotion and actions of girls, these stories blossom, rooted in the fierce emotional landscape of adolescence. The artist's ambition may be real, but can the girl’s heart remain authentic under the aesthetic filter of art? This playlist features films that place girls at the center of the gaze—their bodies and desires exposed to the audience. But are these girls truly vivid and alive, or merely aestheticized slices of youth? The answer awaits you in viewing.
A roundup of the top 10 hits of the year—let’s relive them together!
The kind of person you are shapes the kind of film you make—with Sagittarius directors, this couldn’t be more true. At 19, I watched a film by Emir Kusturica, and it completely changed the way I thought about filmmaking. The first time I attended a film festival, I was “shocked” by the featured director, Terayama Shūji. I stumbled into film school by chance, but it was in a film analysis class that Yasujirō Ozu’s black-and-white depictions of family life stirred memories from my childhood. Later, on my own filmmaking path, I was left speechless by Kim Ki-duk’s rapid production pace and prolific output. Thank goodness for cinema! For a freedom-loving, wildly imaginative Sagittarius like me, filmmaking is how I express the spirit of adventure, passion, and courage that defines who I am.
I’m drawn to those films where love is fearless and all-consuming—like an addiction I can’t escape… They believe in love, and love their beliefs. Every glance feels like it’s on fire.
I remember the summer break of my sophomore year—because I took over organizing our department’s cinema festival, I decided to stay in the school dorm all summer, immersing myself in a personal, sensory journey of film appreciation. One afternoon in the campus library, I randomly picked up Tsai Ming-liang’s The River. To my surprise, it quietly and calmly depicted the atypical family experiences I had kept buried deep inside. That film stayed with me—a teenager full of anxiety about life, unsure whether I could truly take responsibility for myself—through those idle, languid summer days. Back then, there was no fiber-optic internet, no AI-powered smartphones. Just light and shadow, casting a humorous yet absurd gaze upon the hardships of reality. So here I am, recommending this film—let yourself sink into the dreamscape of its story, and let it echo the realism of our own lives.
【 CCC Comic Channel × Giloo Documentary “Frames of Autumn: A New Sensory Stroll through Manga” Series 】 On the strange, the obsessive, and love that doesn't ask to be understood. Perhaps it's this kind of inexplicable, unreciprocated passion, desire, and hatred that gives birth to ghost stories. As for "Tropical Fish(1995)," speaking of Asakusa, you definitely come up with Misemonogoya (Freak Show)! 📖 "Fruits of Passion" pays homage to the short comic "○": https://www.creative-comic.tw/zh/book/380/content
This annual campaign, centered on amplifying the voices of those with lived experiences of poverty, is themed this year around “Home.” For some, home is a space of safety. For others, it’s wherever their loved ones are. For many, a fixed address is necessary just to access social welfare. Through a series of in-person events and curated online screenings, we aim to expand society’s understanding of “home” beyond conventional frameworks—to open a window to new imaginings of what home can be. This “window” represents not only a small yet vital need for many renters, but also a passage through which marginalized voices can reach the wider world. By opening this window, we invite society to embrace the realities of those on the margins—and in doing so, unlock new possibilities for how we all live today.