| Vive l'amour | |||||||
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| Chinese name | |||||||
| Traditional Chinese | 愛情萬歲 | ||||||
| Simplified Chinese | 爱情万岁 | ||||||
| Literal meaning | Long live love | ||||||
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| Directed by | Tsai Ming-liang | ||||||
| Written by | Tsai Ming-liang Tsai Yi-chun Yang Pi-ying | ||||||
| Produced by | Chung Hu-pin Hsu Li-kong | ||||||
| Starring | Yang Kuei-mei Lee Kang-sheng Chen Chao-jung | ||||||
| Cinematography | Liao Pen-jung Lin Ming-kuo | ||||||
| Edited by | Sung Shia-cheng | ||||||
Production | Central Motion Pictures | ||||||
| Distributed by | Central Motion Pictures | ||||||
Release date |
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Running time | 118 minutes | ||||||
| Country | Taiwan | ||||||
| Language | Mandarin | ||||||
Vive l'amour (simplified Chinese: 爱情万岁; traditional Chinese: 愛情萬歲; pinyin: Àiqíng wànsuì; lit. 'long live love') is a 1994 Taiwanese New Wave film directed by Tsai Ming-liang. Starring Lee Kang-sheng, Yang Kuei-mei and Chen Chao-jung.
The film had its world premiere at the 51st Venice International Film Festival, where it won the Golden Lion, the festival's top prize.
While the film was celebrated by most film critics when it was first released, its vague story-line and cinematic techniques resulted in an average box office turnout.
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This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (November 2023) (Learn how and when to remove this message)
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Hsiao-kang (Lee Kang-sheng), a young salesman for commercial ossuary, notices a key to an vacant apartment, forgotten by a real estate agent, dangling in its locks and promptly pockets it while no one else is around. He soon moves into one of the bedrooms. One night he attempts to commit suicide by slitting his wrists while lying on the bed, but gets distracted by a noise coming from another corner of the apartment.
Meanwhile, Ah-jung (Chen Chao-jung) is having coffee at a food court when an attractive real estate agent, May Lin (Yang Kuei-mei), sits at the table next to his. Intrigued after they share a glance, he follows her as she walks down the street. Lin catches on and eventually joins him. She leads him to a vacant apartment that she has on the market—the same apartment that Hsiao-kang is secretly staying in—and they have sex in one of the bedrooms. Hsiao-kang, who is contemplating suicide in another room, hears them and tries to stop the bleeding from his wrists.
Ah-jung steals the key to the apartment from May Lin and later returns with his belongings. He moves into one of the adjoining bedrooms. On his first night in the apartment, he and Hsiao-kang encounter each other in the apartment and have a short argument.
May Lin spends her day trying to sell property. While taking a break, she returns to the apartment when Hsiao-kang and Ah-jung are both there. The two sneak out quietly together and soon form a friendship.
One night, Hsiao-kang goes out for a walk and meets Ah-jung selling dresses on the street. May Lin walks past but does not notice them. Soon, Ah-jung joins her at a food stand and the two return to the apartment and sleep together in the same room as they did the first time. Unbeknownst to them, Hsiao-kang is hiding under the bed the entire time, masturbating himself as the bed creaks above him.
The next morning, May Lin gets dressed and leaves. Hsiao-kang lies next to the sleeping Ah-jung and kisses him before slowly pulling away. Lin goes to her car but cannot start it, so instead she walks on a path in the unfinished Daan Forest Park.[1] She then sits down on a bench and starts to cry uncontrollably.
Continuing Tsai Ming-liang's attentive observation of urban life, Vive l'amour unfolds the theme of urban alienation through three young urbanites' search for romance and their disbelief in traditional family values in the 1990s Taipei. Tsai Ming-liang takes a bold move with plot lines that are stylistically designed to focus on only a trio of main characters, who unknowingly share an apartment in Taipei. The cinematic language of Vive l'amour is kept to an extreme minimum. Tsai Ming-liang's austere composition of dialogues with a total of less than a hundred lines throughout the film, paired with a minimalist use of background music and soundtrack, reflects the emotional loneliness and spiritual emptiness experienced by the three urbanites of Taipei.
With its daring long takes piercing through the deep hearts of the depressed characters, Vive l'amour introduces the unique "Tsai Ming-liang style", which is later embraced by international audiences and critics, and attracts European and American audiences to enter the lonely world Tsai Ming-liang's cinematic language portrays on screen.
Vive l'amour won the Golden Lion award at the 51st Venice International Film Festival.[2] It also won three Golden Horse Awards, for Best Picture, Best Director, and Best Sound Effects, Tsai Ming-liang won Best Director among Edward Yang for A Confucian Confusion, Wong Kar-wai for Chungking Express, and Stanley Kwan for Red Rose White Rose. He received the award from Ang Lee and Tsui Hark. In his speech, Tsai humorously noted that the Golden Horse Awards has the highest number of jury members and is arguably the most difficult award to win.[3]
OnAllMovie, reviewer Jonathan Crow praised the film, writing that "[director Tsai Ming-liang] presents Taipei as a soulless, ultra-modern labyrinth where individuals cannot communicate other than in one-night stands or business transactions. The film's style is masterful in both economy and emotional power. With very long takes, little narrative tension, and almost no dialogue, the style reinforces the cold, alienating world in which the characters live."[4]
On the review aggregator website Rotten Tomatoes, 86% of 14 critics' reviews are positive, with an average rating of 8/10.[5] In the 2012 Sight & Sound polls it received two critics' votes and three directors' votes.[6]
In a recent review following Vive l'amour's 2K restoration, Film Inquiry critic Lee Jutton praised, "Very few filmmakers portrays the hunger for human connection with as much humor and pathos as Tsai Ming-liang." She concluded her review with the note that, "Even when they are placed in the most absurd situations, Tsai Ming-liang's characters convey feelings so incredibly universal that it’s impossible to not relate to them. Vive L'Amour is one of the best and brightest examples of this; it's never looked better to feel so alone."[7]
Also following Vive l'amour's 2K restoration, Washington Square News Arts Editor Nicolas Pedrero-Setzer described Vive l'amour as "not a mere three-fold character study, but a blown-up portrait of a soul draped in sorrow that Ming-liang generously decided to make into a movie."[8]
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Films directed by Tsai Ming-liang
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