She broke up with Hao-hao, but he always tracked her down. Called her… Begged her to come back… Again and again. As if under a spell or hypnotized… She couldn’t escape. She always came back. She told herself that she had NT$ 500,000 in the bank. When she’d used it up, she would leave him for good. This happened ten years ago… In the year 2001. The world was greeting the 21st century and celebrating the new millennium.
Millennium Mambo (2001).
Andrzej Zulawski film titles.
"I know what would happen [in Hollywood]. I look at Hollywood movie posters and I know what to expect. I do not want more fame or more money. I am happy with what I have. I do not want to make a film to make a film. I just want to have a nice life—not a career. […] I don’t actually enjoy making films, to be honest. Well, I enjoy acting, but only after they say ‘action’, when the camera is rolling. Hair and make-up, promotion, waiting around, I’m fed up with all of that. It’s taken up too many years of my life… Pride is more important to me now, because your films live with you forever. I’m never going to make another one that I don’t care for."
Born September 20, 1964
"In Hong Kong in the ’60s, going to cinema was a big thing. We have cinemas for Hollywood films, local productions, European cinema, but there was no [label of] art film at that time. Even Fellini was treated as a commercial film. So as a kid, I spent a lot of time with my mother in the cinemas. And we didn’t know which is an art film, which is a commercial film; we just liked to watch the cinema. […] I’m not coming from film school, I learned cinema in the cinema watching films, so you always have a curiosity. I say, well, what if I make a film in this genre? What if I make this film like this? It’s always like curiosities and drive, like, let’s try to do this one this time." — Wong Kar-wai
"Thailand is surrounded by Burma, Laos and Cambodia, where the horror tales circulate along the border. Even though I grew up in a small town where the land is flat, there were strange animal sounds in a quiet night not unlike those up on the hills. The tales and the landscapes were imprinted in my mind. I always imagine a parallel world with these elements, one where I did not physically live. When I had a chance to make films, which in itself is to create another world, I always resorted to this jungle. The love and fear of mysterious darkness and jungle became my addiction, along with filmmaking…
"Since I made Tropical Malady during my ‘dark’ period—I was at pain with some losses—the film is like my sorrow box. Some of the scenes, including the style and the structure, contain personal references. It may appear scattered to some, but it was the way I saw my memories at that particular time. The experience of making this film was very naive and direct. When we shot in the jungle, I was more aware of how the movie was going. Somehow I felt like I was back in the past making a silent film where there was no man on earth.” — Apichatpong Weerasethakul