Days – first look review | Little White Lies

Festivals

Days – first look review

29 Feb 2020

Words by Greg Wetherall

Two individuals seated on a bed in a dimly lit room, silhouetted against the light from an open doorway.
Two individuals seated on a bed in a dimly lit room, silhouetted against the light from an open doorway.
Tai­wanese mas­ter Tsai Ming-liang returns with a pro­found, med­i­ta­tive poem on the human need for connection.

Tsai Ming-liang has spent the best part of his 31-year career hon­ing his unique blend of slow cin­e­ma. Sev­en years after announc­ing his inten­tion to retire from 35mm nar­ra­tive fea­ture film­mak­ing after Stray Dogs (which won the Grand Jury Prize at Venice in 2013), the Tai­wanese mas­ter makes a wel­come return with Days.

Those already acquaint­ed with Tsai’s work may be pleased to find that his time away explor­ing the capa­bil­i­ties of VR with the likes of The Desert­ed and Your Face has not changed his mode of style. Many of his trade­marks remain, includ­ing long takes from fixed cam­era posi­tions as well as the theme of alienation.

Lee Kang-sheng, the director’s proxy since 1991’s Boys, lives alone in a big house. Non (Anong Houngheuangsy) resides in a small apart­ment in town. Kang acquires the ser­vices of masseur Non in a hotel room. They inhab­it each other’s lives for a small win­dow of time before part­ing ways.

Plot is a neb­u­lous con­cept in Tsai’s uni­verse. Con­ven­tion­al pac­ing and sto­ry struc­ture are sub­sti­tut­ed for ambi­ence. Scenes can last for what feels like an age as Tsai focus­es on a sin­gle image: Non prepar­ing food; Kang tak­ing a bath, or count­ing mon­ey in a hotel room.

Kang and Non fre­quent­ly drift in and out of the estab­lished shot; the cam­era act­ing less as an active par­tic­i­pant than a pas­sive, indis­crim­i­nate observ­er. Sounds are lim­it­ed to those of Kang and Non’s sur­round­ings, such as rain pat­ter­ing on a win­dow pane, or traf­fic on a busy street.

Dia­logue is scarce, and when words do emit from the char­ac­ters’ mouths, they are often mum­bled and inde­ci­pher­able. To Tsai, ver­bal com­mu­ni­ca­tion is super­flu­ous to the rev­e­la­tions that can be attained through time spent in silent obser­va­tion. It is some­what iron­ic that for a film with next to no words, Days has a lot to say.

You might like