Above the Bamboo Grove, Beyond the Jianghu | Revisiting King Hu
An inn, a bamboo forest, a mountain in stillness—through these three spaces, King Hu maps out three realms of wuxia. Dragon Inn establishes the archetype and formal backbone of the genre, reshaping wuxia cinema thereafter; A Touch of Zen stuns Cannes with its iconic bamboo grove duel, bringing Chinese-language cinema onto the global stage for the first time; by the time of Raining in the Mountain, the swords are sheathed, leaving only scriptures, desire, and the sound of rain in the mountains. From history to Zen, King Hu’s films were never just about wuxia.
AuthorGiloo紀實影音源自於「紀錄」的發音，是台灣唯一以影展及議題為導向的影音平台，搜羅台灣與全世界最重要的電影，致力打造影迷與知識影像的文化社群。
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Those irreversible slices of life
Recently, in a novel I've come to love, I found myself grasping the weight of life's slices. In the story, there is a wicked sorcerer who freezes people in the instant just before tragedy strikes—suspending everything, sealing it into a crystal ball, and building an entire museum from these frozen moments. And isn't film, in its own way, just as cruel? As viewers, we are little more than instruments for collecting tissue slices—slipping into a character's world for a single fleeting moment, wandering through it in passing, only to return, in the blink of an eye, to the reality that is our own.