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Anatoly Uvarov
Anatoly Uvarov

Millennium Mambo (2001) ((FREE))



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.




Millennium Mambo (2001)



The main character, Vicky, portrayed by actress Shu Qi, narrates from 2011 about her life 10 years earlier. She describes her youth and story of her changing life at the beginning of the new millennium. She works as a hostess in a trendy bar. Vicky is torn between two men, Hao-Hao and Jack, and her journeys display the parallel journey of the psyche and how one girl deals with her fleeting youth.


A bar hostess, fed up with her jealous boyfriend, finds a refuge of sorts with a local gangster. Set as the world rings in a new millennium, this is the story of a young woman whose life is in flux, where even the present is a future past.


  • 4K Restoration!\r\n\r\nHou Hsiao-Hsien\u2019s Millennium Mambo captures the sheer weightlessness, inertia, and amnesia of life in contemporary Taipei by focusing on free-spirited bar hostess Vicky (Hong Kong diva Shu Qi) as she floats into the new millennium seemingly unfettered by work, love, or family. Following Vicky as she drifts from night to night, club to club, ecstasy and techno fuelling and flattening her abandon, Hou foregoes his stately rhythms and formal tableaux for the throbbing, spectral beat of rave music and a nervously roving, claustrophobic camera, which uses an 85mm lens to bring things so close that they can be blurred, obscured, or oddly cropped, rendering Vicky\u2019s neon-lit world chaotic and indecipherable. (Hou describes the visual approach, devised with genius cinematographer Mark Lee Ping-bing, as that of a microscope.)\r\n\r\nLess atypical of Hou than it first appears, Millennium Mambo is a ghost story, but what has died is more than a single soul \u2014 void of history, memory, a sense of being and belonging, there seems to be no consolation in this \u201ccity of sadness.\u201d Braver and more beautiful than many contemporary films, Millennium Mambo is an extraordinary experience: by turns hypnotizing, maddening, and moving.\r\n\r\nContent advisory: sexual content, substance use, coarse language", "image": "\/\/images.ctfassets.net\/22n7d68fswlw\/4VAjpQNDsBv2YBa4f1Tpf7\/13c90362ca1912c970aeba18bd547f5e\/Millenium-Mambo_still1-_FRL_.jpg", "director": [ "@type": "Person", "name": "Hou Hsiao-hsien" ], "performer": [], "location": [ "name": "TIFF Bell Lightbox", "address": "addressLocality": "Toronto", "addressRegion": "ON" ], "startDate": "2023-02-26T18:00", "endDate": "2023-02-26T20:05", "organizer": "@type": "Organization", "name": "TIFF", "url": "https:\/\/tiff.net\/" } "@context": "http:\/\/schema.org\/", "@type": "Event", "name": "Millennium Mambo", "description": "4K Restoration!\r\n\r\nHou Hsiao-Hsien\u2019s Millennium Mambo captures the sheer weightlessness, inertia, and amnesia of life in contemporary Taipei by focusing on free-spirited bar hostess Vicky (Hong Kong diva Shu Qi) as she floats into the new millennium seemingly unfettered by work, love, or family. Following Vicky as she drifts from night to night, club to club, ecstasy and techno fuelling and flattening her abandon, Hou foregoes his stately rhythms and formal tableaux for the throbbing, spectral beat of rave music and a nervously roving, claustrophobic camera, which uses an 85mm lens to bring things so close that they can be blurred, obscured, or oddly cropped, rendering Vicky\u2019s neon-lit world chaotic and indecipherable. (Hou describes the visual approach, devised with genius cinematographer Mark Lee Ping-bing, as that of a microscope.)\r\n\r\nLess atypical of Hou than it first appears, Millennium Mambo is a ghost story, but what has died is more than a single soul \u2014 void of history, memory, a sense of being and belonging, there seems to be no consolation in this \u201ccity of sadness.\u201d Braver and more beautiful than many contemporary films, Millennium Mambo is an extraordinary experience: by turns hypnotizing, maddening, and moving.\r\n\r\nContent advisory: sexual content, substance use, coarse language", "image": "\/\/images.ctfassets.net\/22n7d68fswlw\/4VAjpQNDsBv2YBa4f1Tpf7\/13c90362ca1912c970aeba18bd547f5e\/Millenium-Mambo_still1-_FRL_.jpg", "director": [ "@type": "Person", "name": "Hou Hsiao-hsien" ], "performer": [], "location": [ "name": "TIFF Bell Lightbox", "address": "addressLocality": "Toronto", "addressRegion": "ON" ], "startDate": "2023-03-02T18:15", "endDate": "2023-03-02T20:20", "organizer": "@type": "Organization", "name": "TIFF", "url": "https:\/\/tiff.net\/" TIFF Homepage Transform the way people see the world through film. TIFF Twitter link TIFF Facebook link TIFF Instagram link TIFF Youtube link Subscribe to TIFF Organization Film Circuit

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So out of the 3 Shu Qi & HHH collaborations which one do you think is the better acting performance. I loved her in the assassin but after the viewing of this idk why I lean towards millennium mambo. What are your thoughts?


In a revealing interview included on the DVD, Hou Hsiao Hsien says he wanted "Millennium Mambo" to be a picture of Taipei night life and also "much more," a "multifaceted" film with "multiple points of view" that he would have liked to make six hours long; something post-modern and deconstructed and free-form and improvised, but "modernist" too in some aspects.The actual film isn't so much multifaceted or plot less as it is a portrait in the moment of a few people composed, with a voice-over from ten years later, from the point of view of a pretty middle-class girl called Vicky (The bee-sting-lipped, doe-eyed Qi Shu, who also stars in the present-day chapter of Hou's recent "Three Times") who's stuck in a dysfunctional relationship with a spoiled, also pretty, middle-class boy, the bleached-haired Hao Hao (Chun-hao Tuan), who does drugs and hits on Vicky when she least wants to be hit on and who won't work and, as Vicky's omnipresent voice-over tells us, at one point has stolen his dad's Rolex and pawned it for a lot of money. They live together and hang out at clubs and Vicky works at a bar as a "hostess," a euphemism for a lap dancer who does drugs and drinks with customers and probably has sex with them -- like Liang Ching (Annie Shizuka Inoh) the actress-narrator of Hou's 1995 "Good Men, Good Women." Vicky's bar job gets her involved with an older gangsterish man named Jack (Jack Kao, the actress Liang Ching's dead lover in "Good Men")."Millennium "Mambo" doesn't show us Taipei nightlife in any collective or panoramic sense. It shows us -- a few times -- the hazy corners of a few bright clubs with little crowds of attractive young people playing games and doing drugs and alcohol, and it shows us -- many times -- corners of the apartment where Vicky and Hao Hao live, and bits of a mountain town in Hokkaido, Japan where Vicky goes, invited initially by a couple of boys she meets.Atypically for Hou, the camera moves around quite a bit too in this film, following the people and hugging their faces and bodies -- but also lingering, in his old style, statically observing doorways, walls, light fixtures, or windows with a train going by outside. Many cigarettes are lit, many are smoked. Meth is puffed in a pipe. Hao Hao pouts. Vicky looks sad or angry. The couple break up, but Vicky comes back, or Hao Hao comes after her. It's approach/avoidance: he tells her she's from another planet, but he keeps getting her back. Jack is an oasis for Vicky; but at a crucial time in winter when she goes to Japan, he isn't available, leaving her a key and a cell phone, to wander the streets. She lies in bed. She stares out the window. In a long outtake on the DVD about her Japan sojourn, Jack actually calls her and she's got a cold. In the final cut, he never calls, and she remains healthy. What's left isn't much, though as always for Hou and for many Chinese directors, the visuals are lush and beautifully lit, even if the frames are empty and the plot line, though never absent as his interview promises, goes nowhere. "Millennium Mambo's" reference to the end of the millennium (and perhaps changes in China and Hongkong?) seems, like the six-hour movie and the portrait of Taipei nightlife Hou promises in his interview, to have come to us as little more than the pretty but empty fragments of a vague, lost intention. This is a remake of Antonioni's "L'Avventura," in winter, with young attractive Asians -- and Qi Shu as the new Monica Vitti -- but without the world-weariness or awareness of any sort of fading cultural heritage, and with, instead of Antonioni's haunting white noise, a nagging techno score.


Directed by the grandmaster of Taiwanese cinema, Hou Hsiao-hsien (who was also behind Flowers of Shanghai and The Puppetmaster), Millennium Mambo (千禧曼波, 2001) filmed in Taipei, won the Technical Grand Prize at the 2001 Cannes Film Festival. It is marked as the first of a series of films, which Hou decides to produce about life in Taipei. The story is being narrated in hindsight, in which the ending of the film is the present, and it beginning in the new millennium. 041b061a72


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