Μιλένιουμ Μάμπο

clem4.5

i know that prop cigarette budget was crazy

Marcissus5.0

I do not have a sufficient enough grasp on the human language to articulate just how enamored I am with the opening sequence of this film. And the ending. And the middle? This is hope strewn across the taipei landscape with words and snow and coins and the colour blue. Vicky looks backward towards these things with wide eyes, feeling their pain and beauty, wallowing in it, the feelings never forgotten and the nights that seemingly last forever. And just like Vicky in the opening sequence, we want to be fooled by it. We watch five coins move from hand to hand being split up by seemingly nothing, eaten up by ghosts, fizzling out into thin air. We watch it but we don't ask how it happened, we just watch, it just happened, to question is to ruin, we just follow with the impulse that everything is beautiful and nothing hurts. This is a film that just evaporates, its almost painful nostalgia seemingly absorbing space and time and memory, a tiny little version of the tallest tree. She never finished school. She made face-prints in the snow. She pretended to be one of them. She ate noodles and watched tv shows. It all meant: come alone.at times it feels like the film is about nothing, but that's the con, the film is our projections, the world we breathe, our attempted escape from our totality, our failures, our hopes that it won't always be this way. a voice from the future, narrating us, implicating our futures are good ones, it is pretty to think so. the ripple moves on, out of frame, undulating towards the edge, wherever that is

kailey3.5

she cannot hear the beating of her own heart over the pulsing music of the club. she is trapped in apartment spaces and to the rhythm of the groove: in a neon daydream if you will. there is no respite from others in our millennium world.(she is one with the night and she tells herself she will not go back to him. one day, when she is strong enough, that will be true.)