The film comes with an optional introduction (5:06) by George Perry, a brief and enthusiastic runthrough of the salient points. Lee watches as the masseur leaves the hotel room, lets the door close, then chases after him. Some exchanges of Gaelic dialogue is intentionally left unsubtitled. Yes, Days is a queer film. The extras are reprised from the previous two-disc edition. This film is intentionally unsubtitled, tell The first part of what follows is based on my review of the Region 4 DVD of Calendar, written for this site in 2010. A photographer (Atom Egoyan) has an assignment to produce a series of twelve shots of historical Armenian churches for use in a calendar. If you want to know what this is all about, just peek at the synopsis: Kang (Lee Kang-Sheng) lives alone in … As though words are the point in a Tsai Ming-Liang movie! That goes on for 7 minutes. After the film of grand Taiwanese art-house director, the second premiere of the day came from Berlinale Specials, and it was Polish director Agnieszka Holland film Charlatan, the biopic of a Czech homosexual herbal healer Jan Mikolásek. A opening title card warns us that this is a film intentionally unsubtitled, much like life left to our own shallow grasp of meaning in thought or action, but what little dialogue there is hardly requires interpretation we feel it all the same. I knew I was in trouble when the pre-credit announcement for this Taiwanese film directed by Tsai Ming-liang stated it was, “intentionally unsubtitled.” Then there’s a static shot of a middle-aged man- Kang (Lee Kang-sheng) sitting looking out his window at his garden during a rain storm. The characters in Iceman speak a version of ancient Rhaetic, believed to be the closest known language such tribes would have used. The dialogue is intentionally left unsubtitled. It’s raw and lo-fi, though a glossy, high-end movie about life in the infamous “Bangkok Hilton” would seem something of a non-sequitur. However, there is no need to worry. From across the street, Tsai watches as they share a meal, their words left inaudible and untranslated — no surprise, since the movie opened with the words, “The film is intentionally unsubtitled.” Much like the 1981 prehistoric drama, The Quest for Fire, Randau presents his story as a largely visual exercise in which comprehension of the dialogue is unnecessary. Add it all together and out comes an inescapable sense of intimacy, largely thanks to how Tsai uses urban life and its class structure to comment on heteronormativity. The audience tittered as the curtain rose at the Berlinale Palast theatre to reveal this announcement: “This film is intentionally unsubtitled.” Hah! There’s very little dialogue to speak of, and much of what there is comes in, intentionally unsubtitled, Thai, … The film won’t be to everyone’s taste. (Days is “intentionally unsubtitled,” an opening title card reads.) From across the street, Tsai watches as they share a meal, their words left inaudible and untranslated — no surprise, since the movie opened with the words, “The film is intentionally unsubtitled.” As for the dialogue it is stated at the beginning of the film that it is intentionally unsubtitled. Lee watches as the masseur leaves the hotel room, lets the door close, then chases after him. Dialogue is exceedingly rare and superfluous when it does occur. On their Blu-ray, Criterion use a linear PCM mono track (24-bit) in the original English language (and some Spanish - intentionally unsubtitled.) Dialogue is sparse and even without subtitling it is easy to understand the gist of what is said and that is more than enough to follow the story. I have revised it in the light of having seen and reviewed Next of Kin, Family Viewing, Speaking Parts and revisiting The Adjuster for this site.

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