#    a    b    c    d    e    f    g    h    i    j    k    l    m    n    o    p    q    r    s    t    u    v    w    x    y    z see:v VAGABOND (aka SANS TOIT NI LOI). 1985, Agnes Varda. 105min. A girl wanders wantonly into a town, into people's lives, and then leaves them, ultimately, until she is found frozen to death in a ditch. While the film follows her throughout (intercutting interviews with the people she has passed) there is little information given about her past. Instead, she holds a mirror up to those around her as they reassess their lives and actions towards other people or duck the question, focusing their introspection outwards, registering disgust for the girl's erring ways. The film is adept, too, at bringing the characters together unexpectedly, as we learn their relationships not only to the girl but to each other, further displaying the intricate structure of the film, and eliciting futher nuance from what appears at first a simple premise. VIVE L'AMOUR [aka Aiqing Wansui]. 1994, Tsai Ming-liang. 118min. To some extent, Tsai Ming-liang's films are all about the same thing, and while this may not be his best work, it exemplifys the themes of longing and alienation so often described in his work. A real estate agent loses the key to an apartment she is showing and soon three people come to occupy it at various times unbeknownst to each other. Each attempts to connect, unsuccessfully, with each other, and in the end is left to confront their own inability to do so. While not the film I would recommend as an introduction to his work (I'd probably recommend either WHAT TIME IS IT THERE [2001], or THE HOLE [1998] before this one), to fans of his work, this is a film that further cements his reputation as a filmmaker. skip:v #    a    b    c    d    e    f    g    h    i    j    k    l    m    n    o    p    q    r    s    t    u    v    w    x    y    z