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Taiwanese Masterpiece A Sun Has Been Hiding in Plain Sight All Year (Column)

Taiwanese Masterpiece A Sun Has Been Hiding in Plain Sight All Year (Column) Taiwanese Masterpiece A Sun Has Been Hiding in Plain Sight All Year (Column) Film critic Peter Debruge s favorite film of 2020 has been widely available on Netflix since last January. Director Chung Mong-hong explains what the film says about his home country, and why this family drama is too universal to be overlooked. Peter Debruge, provided by FacebookTwitterEmail Last February, just before the pandemic upended virtually everything about how the film industry operates, “Parasite” made history at the Academy Awards. The ingenious South Korean thriller became the first international film to “overcome the 1-inch-tall barrier of subtitles” and win best picture, as director Bong Joon Ho phrased it at the podium.

A Sun: Taiwan s heartbreaking epic and Oscar hopeful buried on Netflix

Set in Taipei, the captivating, 156-minute story follows the aftermath of that initial machete madness. Not so much the lost hand – that’s gone, along with the meal – but the family of A-Ho (Wu Chien-ho). Radish (Liu Kuan-ting) and A-Ho were supposed to frighten their target; to A-Ho’s horror, Radish wielded his weapon, and they’re both locked up for years. The fallout extends to A-Ho’s pregnant girlfriend (Wen Chen-ling); his secretive brother, A-Hao (Greg Han Hsu); and his heartbroken parents (Samantha Ko, Chen Yi-wen). The father disowns A-Ho, even asking the judge, “I hope you put him away to teach him some discipline.” When A-Ho leaves the juvenile detention centre, he’s fundamentally changed, but so are the people he tries to make amends with. “(The slashed hand) shocks the audience in the very beginning, and the rest of the film shows the audience what a normal family life is like,” Chung says. “Many things in life originate from unknown violence and ac

Desire is violence: Claire Denis on Beau Travail

Sign up for Sight & Sound’s Weekly Film Bulletin and more News, reviews and archive features every Friday, and information about our latest magazine once a month. Email Sign up Are the films of Claire Denis French cinema’s best kept secret? It certainly seems so in the UK. While her work is regularly praised at film festivals around the world, her last film to be distributed here was her Cameroon-set debut Chocolat in 1988. None of her subsequent films has made more than a festival appearance until now, yet she remains highly regarded. This interview was originally published in our July 2000 issue

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