Wayward cloud watermelon sex scene. The Wayward Cloud.



Wayward cloud watermelon sex scene

Wayward cloud watermelon sex scene

The Wayward Cloud on Amazon. This film encompasses a lot while saying so little. Movie does cross borders to pornography, but on the other hand — who does set up those border?

Water is scarce and the government encourages people to eat watermelons as a source of hydration. After viewing the opening scene of the film, where watermelon is used for… very unusual purposes, watching all people — the old and kids — indulging in a watermelon frenzy is funny and uncomfortable at the same time.

This feeling stays throughout this provoking film. You will never look at watermelon the same after seeing this movie. Hsiao-Keng is involved in making low-budget porn movies with Japanese actress Sumomo Yazakura.

She finds a watermelon floating in the river and brings it back home. Not by coincidence at this point her paths with Hsiao-Keng cross again. They build their relationship through cooking a meal together.

While they do come very close, the barrier between the characters is always there. The camera angles, the situation of bodies, are always showing a separation and a fear of truly connecting. This builds up tension in the audience, waiting for the moment of inevitable connection, conclusion to this farce-like alienation. Moreover, as an audience we know much more about Hsiao-Kang, which cumulates curiosity about what kind of conclusion will the director eventually give us.

The ending is quite expected, considering the suggested mood of the whole film, but nonetheless shocking. It leaves the spectator with a distaste and discomfort. One might even consider it offensive, but it does have its attempted effect. I will not reveal it here, thus to fully comprehend this review you should see the film first.

Shiang-chi in her apartment. Movie has a lot of symbolic sexual elements. Tsai alludes to it symbolically, through imagery of flowers, and directly, woman going to an adult film DVD shop and displaying more aggressive attention towards the male.

The imagery of flowers blooming in the drought, anxiously waiting for someone to water them and the imagery of watermelon, and the male semen are complementary and placed not by accident. Shiang-chi shows aggressive sexuality towards Hsia-kang, but it leaves them both unfulfilled and in an awkward situation. Both female characters of the film eventually are just the objects of more active male sexual desire. Here the male character Hsiao-kang, is just not able to connect in any other way, he does not know how to.

When she eventually starts unzipping his pants, he stops her and hugs her head, stopping the close-to-happen sex scene. Also some fun political commentary — flowers dancing around a statue of Chiang Kai-shek. However, sex is never connected with pleasure, romance or intimacy. It is accompanied by awkwardness, absurd and pure animalistic nature of it. Tsai Ming-Liang explains his point of view in an interview: If you look at real life, sex is difficult.

All human relationships are difficult. Sex is even more so, due to its private nature. Often times, the timing is wrong. Or else, the position is wrong. Asia Society The online magazine Rogue has a very detailed, scene by scene analysis of the sexuality and its meaning in the film. I highly recommend reading it after watching the movie, you can find it here: Director, answering a lot of questions about his films, laughingly reminds that he does not make Hollywood movies.

Welcome to the world of Tsai Ming-Liang. Have you seen this movie? Let me know what you think in comments.

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Hardcore - The Wayward Cloud



Wayward cloud watermelon sex scene

The Wayward Cloud on Amazon. This film encompasses a lot while saying so little. Movie does cross borders to pornography, but on the other hand — who does set up those border? Water is scarce and the government encourages people to eat watermelons as a source of hydration. After viewing the opening scene of the film, where watermelon is used for… very unusual purposes, watching all people — the old and kids — indulging in a watermelon frenzy is funny and uncomfortable at the same time.

This feeling stays throughout this provoking film. You will never look at watermelon the same after seeing this movie. Hsiao-Keng is involved in making low-budget porn movies with Japanese actress Sumomo Yazakura. She finds a watermelon floating in the river and brings it back home. Not by coincidence at this point her paths with Hsiao-Keng cross again.

They build their relationship through cooking a meal together. While they do come very close, the barrier between the characters is always there.

The camera angles, the situation of bodies, are always showing a separation and a fear of truly connecting. This builds up tension in the audience, waiting for the moment of inevitable connection, conclusion to this farce-like alienation.

Moreover, as an audience we know much more about Hsiao-Kang, which cumulates curiosity about what kind of conclusion will the director eventually give us. The ending is quite expected, considering the suggested mood of the whole film, but nonetheless shocking. It leaves the spectator with a distaste and discomfort. One might even consider it offensive, but it does have its attempted effect. I will not reveal it here, thus to fully comprehend this review you should see the film first.

Shiang-chi in her apartment. Movie has a lot of symbolic sexual elements. Tsai alludes to it symbolically, through imagery of flowers, and directly, woman going to an adult film DVD shop and displaying more aggressive attention towards the male. The imagery of flowers blooming in the drought, anxiously waiting for someone to water them and the imagery of watermelon, and the male semen are complementary and placed not by accident.

Shiang-chi shows aggressive sexuality towards Hsia-kang, but it leaves them both unfulfilled and in an awkward situation. Both female characters of the film eventually are just the objects of more active male sexual desire.

Here the male character Hsiao-kang, is just not able to connect in any other way, he does not know how to. When she eventually starts unzipping his pants, he stops her and hugs her head, stopping the close-to-happen sex scene. Also some fun political commentary — flowers dancing around a statue of Chiang Kai-shek. However, sex is never connected with pleasure, romance or intimacy. It is accompanied by awkwardness, absurd and pure animalistic nature of it. Tsai Ming-Liang explains his point of view in an interview: If you look at real life, sex is difficult.

All human relationships are difficult. Sex is even more so, due to its private nature. Often times, the timing is wrong. Or else, the position is wrong. Asia Society The online magazine Rogue has a very detailed, scene by scene analysis of the sexuality and its meaning in the film. I highly recommend reading it after watching the movie, you can find it here: Director, answering a lot of questions about his films, laughingly reminds that he does not make Hollywood movies.

Welcome to the world of Tsai Ming-Liang. Have you seen this movie? Let me know what you think in comments.

Wayward cloud watermelon sex scene

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2 Comments

  1. Here, two people who occupy the same space suffer a disjunction in biological time or the time of awareness.

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