| Vive l'amour | |||||||||||
| Native Name: |
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| Starring: | Yang Kuei-mei Lee Kang-sheng Chen Chao-jung | ||||||||||
| Director: | Tsai Ming-liang | ||||||||||
| Producer: | Chung Hu-pin Hsu Li-kong | ||||||||||
| Cinematography: | Liao Pen-jung Lin Ming-kuo | ||||||||||
| Editing: | Sung Shia-cheng | ||||||||||
| Studio: | Central Motion Pictures | ||||||||||
| Distributor: | Central Motion Pictures | ||||||||||
| Runtime: | 118 minutes | ||||||||||
| Country: | Taiwan | ||||||||||
| Language: | Mandarin | ||||||||||
Vive l'amour (Chinese: t=愛情萬歲|s=爱情万岁|p=Àiqíng wànsuì;) is a 1994 Taiwanese New Wave film directed by Tsai Ming-liang. Starring Lee Kang-sheng, Yang Kuei-mei and Chen Chao-jung.
The film had its world premiere at the 51st Venice International Film Festival, where it won the Golden Lion, the festival's top prize.
While the film was celebrated by most film critics when it was first released, its vague story-line and cinematic techniques resulted in an average box office turnout.
Hsiao-kang (Lee Kang-sheng), a young salesman for commercial ossuary, notices a key to an vacant apartment, forgotten by a real estate agent, dangling in its locks and promptly pockets it while no one else is around. He soon moves into one of the bedrooms. One night he attempts to commit suicide by slitting his wrists while lying on the bed, but gets distracted by a noise coming from another corner of the apartment.
Meanwhile, Ah-jung (Chen Chao-jung) is having coffee at a food court when an attractive real estate agent, May Lin (Yang Kuei-mei), sits at the table next to his. Intrigued after they share a glance, he follows her as she walks down the street. Lin catches on and eventually joins him. She leads him to a vacant apartment that she has on the market—the same apartment that Hsiao-kang is secretly staying in—and they have sex in one of the bedrooms. Hsiao-kang, who is contemplating suicide in another room, hears them and tries to stop the bleeding from his wrists.
Ah-jung steals the key to the apartment from May Lin and later returns with his belongings. He moves into one of the adjoining bedrooms. On his first night in the apartment, he and Hsiao-kang encounter each other in the apartment and have a short argument.
May Lin spends her day trying to sell property. While taking a break, she returns to the apartment when Hsiao-kang and Ah-jung are both there. The two sneak out quietly together and soon form a friendship.
One night, Hsiao-kang goes out for a walk and meets Ah-jung selling dresses on the street. May Lin walks past but does not notice them. Soon, Ah-jung joins her at a food stand and the two return to the apartment and sleep together in the same room as they did the first time. Unbeknownst to them, Hsiao-kang is hiding under the bed the entire time, masturbating himself as the bed creaks above him.
The next morning, May Lin gets dressed and leaves. Hsiao-kang lies next to the sleeping Ah-jung and kisses him before slowly pulling away. Lin goes to her car but cannot start it, so instead she walks on a path in the unfinished Daan Forest Park.[1] She then sits down on a bench and starts to cry uncontrollably.
Continuing Tsai Ming-liang's attentive observation of urban life, Vive l'amour unfolds the theme of urban alienation through three young urbanites' search for romance and their disbelief in traditional family values in the 1990s Taipei. Tsai Ming-liang takes a bold move with plot lines that are stylistically designed to focus on only a trio of main characters, who unknowingly share an apartment in Taipei. The cinematic language of Vive l'amour is kept to an extreme minimum. Tsai Ming-liang's austere composition of dialogues with a total of less than a hundred lines throughout the film, paired with a minimalist use of background music and soundtrack, reflects the emotional loneliness and spiritual emptiness experienced by the three urbanites of Taipei.
With its daring long takes piercing through the deep hearts of the depressed characters, Vive l'amour introduces the unique "Tsai Ming-liang style", which is later embraced by international audiences and critics, and attracts European and American audiences to enter the lonely world Tsai Ming-liang's cinematic language portrays on screen.
Vive l'amour won the Golden Lion award at the 51st Venice International Film Festival.[2] It also won three Golden Horse Awards, for Best Picture, Best Director, and Best Sound Effects, Tsai Ming-liang won Best Director among Edward Yang for A Confucian Confusion, Wong Kar-wai for Chungking Express, and Stanley Kwan for Red Rose White Rose. He received the award from Ang Lee and Tsui Hark. In his speech, Tsai humorously noted that the Golden Horse Awards has the highest number of jury members and is arguably the most difficult award to win.[3]
On AllMovie, reviewer Jonathan Crow praised the film, writing that "[director Tsai Ming-liang] presents Taipei as a soulless, ultra-modern labyrinth where individuals cannot communicate other than in one-night stands or business transactions. The film's style is masterful in both economy and emotional power. With very long takes, little narrative tension, and almost no dialogue, the style reinforces the cold, alienating world in which the characters live."[4]
In the 2012 Sight & Sound polls it received two critics' votes and three directors' votes.[5]
In a recent review following Vive l'amour
Also following Vive l'amour