The Malaysian-born Taiwanese auteur Tsai Ming-liang and his frequent onscreen muse, Lee Kang-sheng, have made one of their most deeply moving works.
among them — could be described as silent comedies of a type, their meticulously composed funny-sad frames teeming with deadpan sight gags and sometimes delirious bursts of slapstick.
The pane of glass before him reflects back at us his house’s immediate surroundings: a large tree, an overcast sky, a falling rain whose gentle pitter-patter fills in the silence. We see what Kang sees — or do we? His unwavering expression, at once sad and inscrutable, suggests maybe not. No explanations are forthcoming, but gradually a story coalesces in eloquent, wordless images of Kang soaking in a pool and performing outdoor stretches.
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