From the Chicago Reader (June 2, 2000).
On October 5, 2014, I had the pleasure of introducing The Sandwich Man at the Museum of the Moving Image’s exhaustive Hou retrospective in Astoria. My late friend Gilberto Perez came to the screening and we had dinner afterwards; it was the last time I ever saw him. — J.R.
Films by Hou Hsiao-hsien
By Jonathan Rosenbaum
We are what we pretend to be, so we must be careful about what we pretend to be. — Kurt Vonnegut Jr., Mother Night
How significant is it that neither of the two greatest working narrative filmmakers is fluent in English? Not very. But it might be logical. After all, most of the people in the world, including those in Iran and Taiwan, don’t speak English, even though that places them, in American eyes, in the margins, outside even the on-line global culture.
If being in the margins means being in the majority, it stands to reason that Abbas Kiarostami and Hou Hsiao-hsien, as chroniclers of what’s happening on the planet at the moment, should both be poet laureates of the sticks — though they don’t have much in common beyond a taste for filming in long shot, pioneering direct sound recording in their national cinemas (in both cases to honor the speech patterns of nonprofessional actors), and a general sense of philosophical detachment.… Read more »