The Terrorizers

The interwoven plot threads slowly reveal themselves in pieces, culminating in a finale that pulls everything together and yet opens up new mysteries. The themes of alienation and disconnectedness give you something to chew on. However, I really can only appreciate this on an intellectual level. Like a lot of Antonioni, it only left me cold. Only one scene had any kind of emotional resonance with me. I don't mind a film that makes you think, but there has to be something else to hook me in.

Dense, elliptical and challenging, but also quite profound and moving. To me, it's basically a film about that feeling of living in a city and being sure that the city is doomed to swallow you alive. Edward Yang's eye for composition and sense of space and pacing are unrivaled.

Such unity of form. Such subtle economy of ideas. Such mastery of imagery. A flawless film. An awe-inspiring film.

There is such a sharp command of tone and intention, I'm convinced Yang is a genius who never got his proper due.

A story on modern middle-high class: nobody wants to be mediocre.

(Viewed on 01/07/13): The Terrorizers is reminiscent of early Haneke, although it predates his glaciation trilogy by years. As others have noted, there is a strong Antonioni influence, especially in the photographer character and its construction of space. Compared to Yi Yi, it's an unremittingly bleak portrait of modern urban living that lacks humanity and warm, but that's entirely the point. The interlocking narrative is impressively edited, and it ends on a disconcertingly ambiguous note.

Edward Yang makes beautiful movies about murder and windows

Edward Yang wants me to string together my attention even though there isn't an obvious thread of thought running through most of the movie. I enjoy concentrating to enhance my understanding of a movie, but here I have to do all the work to understand a very subtle and quiet piece. Very Edward Yang, but not really my cup of tea.

An elliptical approach to the interlocking narrative later popularized by Tarantino et al. The manners in which the characters' lives coincide is rarely easy to understand, and we're left with mysterious glimpses of unresolved plots that only hint at a unifying, satisfying conclusion. It's certainly unique, though it lacks some of the warmth and humanity that's made me such a fan of Yang's other films.

A very strong ending elevates it. Some of the editing and storytelling techniques are amazing. One of grimmest-funniest ending scenes

Yang shows a knack for all aspects of cinematic storytelling: subtle performances in service of its tightly-devised script, masterful use of light, space, framing, and sound. I’m a sucker for scenes with no dialogue and music - just hypnotic room tone and foley sound - that manage to pack in something complex and essential to the narrative/mood but nearly impossible to put into words. I see parallels to Lynne Ramsay’s work in the photographic framing. Fantastic images, sound, and ending.

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This feels like one that will seep into my subconscious for a while

People as physics, as particles bumping into each other. They don't know who they are or where they are until they are observed, until they violently collide with another.