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	Comments on: Venice Review: Tsai Ming-Liang&#8217;s &#8216;Stray Dogs&#8217;	</title>
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		<title>
		By: Xiao		</title>
		<link>https://staging2.theplaylist.net/venice-review-tsai-ming-liangs-stray-dogs-20130906/#comment-46121</link>

		<dc:creator><![CDATA[Xiao]]></dc:creator>
		<pubDate>Fri, 13 May 2016 09:07:02 +0000</pubDate>
		<guid isPermaLink="false">http://www.indiewire.com/2013/more/uncategorized/venice-review-tsai-ming-liangs-stray-dogs-93992/#comment-46121</guid>

					<description><![CDATA[&#034;But we will say that while the form is undeniable, the content isn&#x27;t quite as transcendent. Tsai&#x27;s in the same kind of territory as he&#x27;s been in a few times in the pastâdown-and-outs in leaky buildings, slipping between the cracks of society. It remains resonant and affecting stuff, but as good as the performers are (Lee in particular is absolutely extraordinary), it only feels like it&#x27;s breaking new ground in the occasional moment, and ultimately proves a little too inscrutable to truly cherish, at least for us.&#034;

Yeah, of course, movies about &#034;down and outs&#034; are worthless and old hat. When 99% of the films in any festival deal with the 1% of rich North Americans and Europeans, just watch Indiewire complain about their &#034;content.&#034; I mean really, just fuck you Lyttelton. If the characters are fucking homeless and don&#x27;t even own a fucking kitchen, where is their god damn sink supposed to be? Just cause someone is poor doesn&#x27;t mean their life resembles a pat Oscar baity melodrama. Movies about rich people are allowed to be dreamlike and pretentious. Movies about poor people are not allowed to be raw and poetic? Real life on the margins might be way more absurd- and FEEL more absurd- than any &#034;kitchen sink drama.&#034; Like Kafka, or like Tsai. These are true artists. Those who spit them out of their mouth, lukewarmly trying to seem appreciative of their effort, are doing them the worst injustice.

Here&#x27;s a quote from Tsai: &#034;Everywhere we look, unemployment is increasing, homelessness is rising. Life is becoming more difficult for many, and it is those difficulties I wanted to explore.&#034;

Meanwhile, the most acclaimed films in Toronto will most certainly be exploring not only first world problems but the problems of the increasingly wealthy minority.

By the way, Tsai&#x27;s 2009 movie was Face (aka Visage), not &#034;Play.&#034;]]></description>
			<content:encoded><![CDATA[<p>&quot;But we will say that while the form is undeniable, the content isn&#x27;t quite as transcendent. Tsai&#x27;s in the same kind of territory as he&#x27;s been in a few times in the pastâdown-and-outs in leaky buildings, slipping between the cracks of society. It remains resonant and affecting stuff, but as good as the performers are (Lee in particular is absolutely extraordinary), it only feels like it&#x27;s breaking new ground in the occasional moment, and ultimately proves a little too inscrutable to truly cherish, at least for us.&quot;</p>
<p>Yeah, of course, movies about &quot;down and outs&quot; are worthless and old hat. When 99% of the films in any festival deal with the 1% of rich North Americans and Europeans, just watch Indiewire complain about their &quot;content.&quot; I mean really, just fuck you Lyttelton. If the characters are fucking homeless and don&#x27;t even own a fucking kitchen, where is their god damn sink supposed to be? Just cause someone is poor doesn&#x27;t mean their life resembles a pat Oscar baity melodrama. Movies about rich people are allowed to be dreamlike and pretentious. Movies about poor people are not allowed to be raw and poetic? Real life on the margins might be way more absurd- and FEEL more absurd- than any &quot;kitchen sink drama.&quot; Like Kafka, or like Tsai. These are true artists. Those who spit them out of their mouth, lukewarmly trying to seem appreciative of their effort, are doing them the worst injustice.</p>
<p>Here&#x27;s a quote from Tsai: &quot;Everywhere we look, unemployment is increasing, homelessness is rising. Life is becoming more difficult for many, and it is those difficulties I wanted to explore.&quot;</p>
<p>Meanwhile, the most acclaimed films in Toronto will most certainly be exploring not only first world problems but the problems of the increasingly wealthy minority.</p>
<p>By the way, Tsai&#x27;s 2009 movie was Face (aka Visage), not &quot;Play.&quot;</p>
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		<title>
		By: immature		</title>
		<link>https://staging2.theplaylist.net/venice-review-tsai-ming-liangs-stray-dogs-20130906/#comment-46122</link>

		<dc:creator><![CDATA[immature]]></dc:creator>
		<pubDate>Fri, 13 May 2016 09:07:02 +0000</pubDate>
		<guid isPermaLink="false">http://www.indiewire.com/2013/more/uncategorized/venice-review-tsai-ming-liangs-stray-dogs-93992/#comment-46122</guid>

					<description><![CDATA[Some films take more than one viewing to get into. Not because of pretension but because what they&#x27;re trying to say may demand complicated layers and can&#x27;t or shouldn&#x27;t be done in another way. It&#x27;s not at all a flaw in the film making if the work unfolds only over multiple viewings. Tsai Ming Liang&#x27;s &#x27;Goodbye Dragon In&#x27; and &#x27;Vive l&#x27;Amour&#x27; are just two examples of films that work like this, but there are so many others.]]></description>
			<content:encoded><![CDATA[<p>Some films take more than one viewing to get into. Not because of pretension but because what they&#x27;re trying to say may demand complicated layers and can&#x27;t or shouldn&#x27;t be done in another way. It&#x27;s not at all a flaw in the film making if the work unfolds only over multiple viewings. Tsai Ming Liang&#x27;s &#x27;Goodbye Dragon In&#x27; and &#x27;Vive l&#x27;Amour&#x27; are just two examples of films that work like this, but there are so many others.</p>
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		<title>
		By: gigi		</title>
		<link>https://staging2.theplaylist.net/venice-review-tsai-ming-liangs-stray-dogs-20130906/#comment-46123</link>

		<dc:creator><![CDATA[gigi]]></dc:creator>
		<pubDate>Fri, 13 May 2016 09:07:02 +0000</pubDate>
		<guid isPermaLink="false">http://www.indiewire.com/2013/more/uncategorized/venice-review-tsai-ming-liangs-stray-dogs-93992/#comment-46123</guid>

					<description><![CDATA[why is it good when you have to see a movie twice to get it? if one viewing is not enough to grasp it then filmmaker didn&#x27;t do a very good job. I like movies that improve with every viewing, and each time reveal more, but once should be enough. this just screams pretension.]]></description>
			<content:encoded><![CDATA[<p>why is it good when you have to see a movie twice to get it? if one viewing is not enough to grasp it then filmmaker didn&#x27;t do a very good job. I like movies that improve with every viewing, and each time reveal more, but once should be enough. this just screams pretension.</p>
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		<title>
		By: Paul		</title>
		<link>https://staging2.theplaylist.net/venice-review-tsai-ming-liangs-stray-dogs-20130906/#comment-46124</link>

		<dc:creator><![CDATA[Paul]]></dc:creator>
		<pubDate>Fri, 13 May 2016 09:07:02 +0000</pubDate>
		<guid isPermaLink="false">http://www.indiewire.com/2013/more/uncategorized/venice-review-tsai-ming-liangs-stray-dogs-93992/#comment-46124</guid>

					<description><![CDATA[This review is the death of film criticism.]]></description>
			<content:encoded><![CDATA[<p>This review is the death of film criticism.</p>
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