AVALIAÇÃO DA IMDb
6,6/10
2,1 mil
SUA AVALIAÇÃO
Kang vive sozinho em uma casa grande, Non em um pequeno apartamento na cidade. Eles se encontram e depois se separam, seus dias fluem como antes.Kang vive sozinho em uma casa grande, Non em um pequeno apartamento na cidade. Eles se encontram e depois se separam, seus dias fluem como antes.Kang vive sozinho em uma casa grande, Non em um pequeno apartamento na cidade. Eles se encontram e depois se separam, seus dias fluem como antes.
- Direção
- Roteirista
- Artistas
- Prêmios
- 3 vitórias e 19 indicações no total
Avaliações em destaque
Tsai's films have been becoming more and more minimalist over time. Yet while his stories have always been very implicit, films such as Vive l'Amour (1994), Adeus, Dragon Inn (2003) and the masterful Cães Errantes (2013) all have a message, a concept, a central idea. Even a extremely minimalist piece such as Jornada ao Oeste (2014) is very conceptual.
Rizi lacks in that regard, in my opinion. I can see how Tsai wanted to strip down a film even more than some of his other work, to get even closer to the essence, and this is to be applauded. At the same time it seems to me the film is an afterthought and not a premeditated work. From what I gather, Tsai had been shooting Kang-sheng Lee and Anong Houngheuangsy separately, without the goal of making a film.
Apparently he was then compelled to create a feature film after all and decided the center piece would be an encounter between the two men. Now, that encounter is filmed beautifully and while it has been described as erotic, I'd say above all it is a human encounter.
However the material before and after this central event is disconnected and does not have the same weight as provided by the performances in some Tsai's earlier films. One could argue that this disconnection is on purpose, but it just did not feel that way to me. It felt somewhat artificial.
Still, the two hours were a nice meditative experience, so if you are a slow cinema afficionado it's worth seeing. But it's no Stray Dogs or Goodbye Dragon Inn.
Rizi lacks in that regard, in my opinion. I can see how Tsai wanted to strip down a film even more than some of his other work, to get even closer to the essence, and this is to be applauded. At the same time it seems to me the film is an afterthought and not a premeditated work. From what I gather, Tsai had been shooting Kang-sheng Lee and Anong Houngheuangsy separately, without the goal of making a film.
Apparently he was then compelled to create a feature film after all and decided the center piece would be an encounter between the two men. Now, that encounter is filmed beautifully and while it has been described as erotic, I'd say above all it is a human encounter.
However the material before and after this central event is disconnected and does not have the same weight as provided by the performances in some Tsai's earlier films. One could argue that this disconnection is on purpose, but it just did not feel that way to me. It felt somewhat artificial.
Still, the two hours were a nice meditative experience, so if you are a slow cinema afficionado it's worth seeing. But it's no Stray Dogs or Goodbye Dragon Inn.
"Rizi" ("Days" in English) is the first Tsai Ming-liang movie that I've ever seen. It appears that he's Taiwan's answer to Jim Jarmusch. The movie is the ultimate example of slow cinema, featuring long takes and only a handful of lines (none of which are subtitled). I guess you could say that the movie is about life, as an affluent man and an immigrant have a brief fling.
You'll have to avoid the movie if you want to see superheroes, explosions, car chases, etc. This is a low-key film focused very much on the characters. I wouldn't call it the greatest movie ever made, but it's still more interesting than the umpteenth movie where Tom Cruise narrowly avoids all danger. I don't know if it's available on any streaming service, so you'll probably have to check a neighborhood video store.
You'll have to avoid the movie if you want to see superheroes, explosions, car chases, etc. This is a low-key film focused very much on the characters. I wouldn't call it the greatest movie ever made, but it's still more interesting than the umpteenth movie where Tom Cruise narrowly avoids all danger. I don't know if it's available on any streaming service, so you'll probably have to check a neighborhood video store.
The first scenes is actually a good test. If you enjoy it, I think you'll love this movie.
If not, I strongly advise you to stop there. The whole movie is indeed made of the same substance: long motionless sequence-shot. No action per so. No dialog.
Days is one of those movies that you either hate and feel so bored or love and truly enjoy. It's like 2 h long with no dialogue, there's literally no conversation at all, and the shots are slow, motionless and long. I personally don't mind this genre and I did love this movie. Days is visually stunning, the cinematography is great with many amazing frames. It has no words but it has lots of vibes, it delivers lots of emotions about loneliness, affection, attachment, routine, etc. If you're into a beautiful silent visual cinematic experience then Days would be a perfect choice.
Amazing cinematic language and pure cinema. Tsai always learned us that the movie language is about the frames and filming time. The touching story of his films has always a great meaning.
Você sabia?
- CuriosidadesContains only 46 shots, for an average shot length of around 2 minutes and 45 seconds.
- ConexõesReferences Luzes da Ribalta (1952)
Principais escolhas
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- How long is Days?Fornecido pela Alexa
Detalhes
Bilheteria
- Faturamento bruto mundial
- US$ 1.347
- Tempo de duração
- 2 h 7 min(127 min)
- Cor
- Proporção
- 1.78 : 1
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