A complete overview of this could be found on the non-free social network Letterboxd.

  • Watched on Sunday October 3, 2021.
  • so personally unbinding that this could be a spiritual sequel to Hahaha (2010)
  • Watched on Saturday October 2, 2021.
  • the mistakes that we make and the things we do not see. the wrong things will happen at the right time but if you believe in doing the right things despite the wrong ones, you can keep on going. Soi Cheang simply doesn't know when to stop. three years ago, I got introduced to the SPL series because of how much Sean raves about them. since then my perspective of action has been dramatically reshaped. the greatest of all tricks that this one has up its sleeve is it takes two hours to drive home an idea that cannot be […]
  • words of fathers that lose relevance by each promise. failure takes over as every attempt to do the right thing becomes a desperate turn towards the wrong. morality decays, adherence to the code no longer stands true when the code itself seems neutral (and as Sense8 is wont to phrase it, "therefore complacent") to evil. Yip's focus seems so fixated on his characters that the melodrama works twofold. pretty damning to have a character dying with the words, "we are no good," "we're no good" and another surviving the fight to succumb to its scars. the promises of mortal men […]
  • the repetition and exposition tire me out but the reliance on the background of Japan to narrate an entire character's lifetime spent in search, regret and holding on to objects of value plays out as very sincere. The pursuit ultimately takes over, the war ends but the landscape remains in stasis. the infinite stretches of cinema continue to steer through.
  • breaking down in front of someone to tell them they're worth it, reorienting and reliving your dream for the people you have done wrong by, failing and crying and screaming, "it doesn't hurt", "it doesn't hurt" and channeling all energy of said failure towards someone you love. A Throw Down for the digital age. Johnnie To's glaring, shouting, excessive bollywood movie.
  • foretold failures and the dances around it, often as silent echoes between halves and poems of fervour – carrying inverted tropes and rediscovered affinity towards words meant in scorn or selfishness. hong's lens is far more grounded here, the inversion harsher than any that follow: a story of romance well past its time that has people dancing without music, singing without rhythm, drinking without getting drunk. hong alternates the very dance around a structure that is only talked about, never seen; allowing moments of intimacy to spur and promises to be made while being oblivious enough of their destined refutation […]
  • the use of some catchy hip-hop to fill silence or surround moments of heightened sensitivity puts it in the same league as all the cool hindi productions that have no sense of rhythm, cutting or cohesion. some of the cuts are so bad that it leaves gaping holes in the plot. the sense of accomplishment that it manages to establish by the end as something sincere bases itself on themes of misogyny, reinforcing stereotypes and rationalizing toxic masculinity. apart from some of the well earned humour and a somewhat tight 2 hour runtime (most of it complemented by Trivedi's score), […]
  • show, tell, explain and then some. if only the pretty camera could hide all the ugliness.