Journey to the West

In 2012, the Hong Kong International Film Festival invited Tsai Ming-Ling to make the opening short film. Having grown up with Hong Kong's popular culture, Tsai Ming-Liang decided to pay homage by making a "Walker" film, contrasting the Walker's slowness with the frenzied pace of Hong Kong's cosmopolitan life. The film ends with a song by Hong Kong actor and singer Samuel Hui, who was Tsai Ming-Liang's idol during his youth. The film was invited to be the closing short film for the Cannes Film Festival in 2012.

A continuation of Tsai Ming-Liang's Walker series, featuring Lee Kang-Sheng as a barefoot monk who walks very slowly.

In 2012, Taiwanese architects Michael Lin and Liao Wei-li invited Tsai Ming-Liang to create moving visuals for their exhibit at the Venise Architecture Biennale. Using the space at their preview exhibition in Taiwan, Tsai Ming-Liang made two short films, "Sleepwalk" and "Diamond Sutra", using the "Walker" concept. "Diamond Sutra" was later selected to be the opening short film for the Venise Film Festival. Tsai-Ming Liang said that gazing at the steam rising from a rice cooker reminded him of his mother's face as she laid dying, exhaling her final breath.

In 2011, Tsai Ming-Liang staged a play, "Only You", for Taiwan's National Theater and Concert Hall. In it, there was a powerfully moving scene where monk Xuanzang walked at an extremely slow pace for half an hour. Lamenting the transient nature of theater, Tsai decided to make a movie out of this slow-walking performance, "No Form", the first of his "Walker Films" series.

In the wee hours of winter a night train travels through a sleepless city. This is a panorama of a Buddhist monk’s journey through Tokyo at night. He also stops at a bath-house in a capsule hotel, where he makes a brief encounter.

In 2018, Tsai Ming-Liang was invited by the Northeast and Yilan Coast National Scenic Area Administration to make this film, his eighth in the "Walker" series. In the constant passage of time, the Zen-like footsteps of the Walker has finally allowed us to see the Pacific Ocean, the open sky, the seagulls, the black sand, an eel catching settlement that arose in the cold winter rain, the twisting branches of the lintou trees, flotsam piled up like mountains, and a newly constructed cement house, which seems to offer a temporary place of rest for the Walker. "Sand" premiered together with the opening of the Zhuangwei Dune Visitor Center.

The ninth opus of his Walker Films series, which was shot at Centre Pompidou.

The walker with the shaved head and dressed in a red robe is barefoot. He walks slowly but determinedly through the forest, over stones and grassland. He also makes his way through the shadows of trees and houses. He sets foot in the train station, the church and the museum. The sun rises and sets again. The walker passes through Washington, D.C. Another stranger is also on the move in the city. We are unsure whether or not he is following the walker.

A sleeping city, streets without people. A figure in a red robe walks slowly — across a carpet of leaves, over cobblestones, along the cold pavement. Autumn night fog descends upon the city. In the cinema, people watch the monk’s slow steps and fall asleep. Can phantoms meet and understand each other? Night Journey was created in just ten days through a collaboration between Tsai Ming-liang and FAMU students — a tribute to cinema and to Jihlava as a place of silent dreaming.

He wanders around the Comb of the Wind, where the sea rises and breaks against the shore. Along the way, he passes an old Basque farmhouse, a silent man, a woman drinking water, a woman smoking, punks gathered in a rock bar, and people in the ancient city at sunset. The Diamond Sutra speaks of all living beings in these words: "Specks of dust are not specks of dust; therefore, they are called specks of dust".

He wanders around the Comb of the Wind, where the sea rises and breaks against the shore. Along the way, he passes an old Basque farmhouse, a silent man, a woman drinking water, a woman smoking, punks gathered in a rock bar, and people in the ancient city at sunset. The Diamond Sutra speaks of all living beings in these words: "Specks of dust are not specks of dust; therefore, they are called specks of dust".

Tsai Ming-liang's new film, Back Home, depicts Anong Houngheuangsy and the daily life of his home village in Laos. We witness buildings in varying states of habitation and disrepair, farm animals, rice fields, religious sites, domestic scenes, a sun-dappled food market, and a dog adorably trying (and failing) to escape a carnival ride.

In Taipei, four youths face alienation, loneliness, and moments of existential crisis amidst a series of minor crimes.

Three lonely young denizens of Taipei unknowingly share an apartment: May, a real estate agent who uses it for her sexual affairs; Ah-jung, her current lover; and Hsiao-kang, who's stolen the key and uses the apartment as a retreat.

In the final days of the year 1999, almost everyone in Taiwan has died from a strange plague that ravished the island. As rain pours down relentlessly, a single man is stuck with an unfinished plumbing job and a hole in his floor. This results in a very odd relationship with the woman who lives below him.

A street vendor with a grim home-life forges a connection with a young woman on her way to Paris.

The walker with the shaved head and dressed in a red robe is barefoot. He walks slowly but determinedly through the forest, over stones and grassland. He also makes his way through the shadows of trees and houses. He sets foot in the train station, the church and the museum. The sun rises and sets again. The walker passes through Washington, D.C. Another stranger is also on the move in the city. We are unsure whether or not he is following the walker.

On a dark, wet night in Taipei City, a cavernous old picture palace is about to close its doors forever. A meager audience, the remaining few staff, and perhaps even a ghost or two, watch King Hu’s wuxia classic "Dragon Inn", each haunted by memories and desires evoked by cinema itself.

A young man develops severe neck pain after swimming in a polluted river for a movie shoot, but nobody can provide him any relief.

Ximending was once the trendiest area in Taipei, and it's also where Kang-sheng Lee's first film was shot. Twenty years ago, director Ming-liang Tsai asked Lee if he wanted to be in his film, and Lee's answer changed the course of his own life forever. Now Lee returns to where his career began to shoot a film about himself.

Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.

Kang lives alone in a big house, Non in a small apartment in town. They meet, and then part, their days flowing on as before.

An alcoholic man and his two young children barely survive in Taipei. They cross paths with a lonely grocery clerk who might help them make a better life.

In the wee hours of winter a night train travels through a sleepless city. This is a panorama of a Buddhist monk’s journey through Tokyo at night. He also stops at a bath-house in a capsule hotel, where he makes a brief encounter.

Hsiao-Kang, now working as an adult movie actor, meets Shiang-chyi once again. Meanwhile, the city of Taipei faces a water shortage that makes the sales of watermelons skyrocket.

A behind-the-scenes documentary on the making of Ming-liang Tsai’s I Don’t Want to Sleep Alone.