Moira Weigel

All articles by this author

Neon Wave

Neon Wave

On Tsai Ming-liang

In a way, it is strangely appropriate that Tsai’s first film should have waited twenty-three years to appear in the United States. Tsai is a director obsessed with what the French call décalage, a kind of jet lag. The rhetoric of development used about East Asia—and elsewhere in the “developing” world—presumes a certain kind of linear, progressive time, or movement forward in time. Its voice insists that places like Taipei must catch up.

Sadomodernism

Sadomodernism

Haneke in furs

Haneke has often said, referring to the unhappy ending of The Piano Teacher, that he aims “to rape the spectator into autonomy.” He abuses his audience in order to make us self-aware and liberate us from bad habits. Critics have mostly taken him at his word, repeating the sleight of rhetoric that conflates the act of analyzing and violating movie conventions with bashing in the skull of an animal.