Millenium Mambo
Clubs, nightclubs and other rowdy dance floors are places of ligthness, seduction or dissidence, where musical trends, dramas and romances are born. They are the sulphurous theater of the bodies that are bring together , but also a mental space that can make the multitude and the solitude, the party feeling and the melancholy coexist. From the disco scene of the 1970s to today, this cycle brings together films where people dance without a tomorrow, in the light of neon and strobes.
Vicky recalls her past, when she worked in a club and was torn between two men, Hao-Hao, a jealous and possessive boyfriend, and Jack, a seductive trafficker with whom she took refuge and forgot herself in the neon lights of nightlife.
Hou Hsiao-hsien
Hou Hsiao-hsien is a Mainland Chinese-born Taiwanese film director, screenwriter, producer and actor. He is a leading figure in world cinema and in Taiwan's New Wave cinema movement. e won the Golden Lion at the Venice Film Festival in 1989 for his film A City of Sadness, and the Best Director award at the Cannes Film Festival in 2015 for The Assassin (2015).[2] Other highly regarded works of his include The Puppetmaster and Flowers of Shanghai.
Hou was voted "Director of the Decade" for the 1990s in a poll of American and international critics by The Village Voice and Film Comment.[6] In a 1998 New York Film Festival worldwide critics' poll, Hou was named "one of the three directors most crucial to the future of cinema."[7] A City of Sadness ranked 117th in the British Film Institute's 2012 Sight & Sound critics' poll of the greatest films ever made.[8] In 2017, Metacritic ranked Hsiao-hsien 16th on its list of the 25 best film directors of the 21st century.[9]
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Disco clubs : tour de piste
Il y a un plaisir indéniable à revisiter des films où les clubs, discothèques et autres scènes de party dansant ont une place de premier plan, parce que l’on sait qu’on y trouvera les ingrédients qui nous font jubiler au cinéma : le factice, le clinquant, le rythme et l’absence d’inhibition. Et pourtant, ces scènes de défoulement sont presque toujours teintées de sentiments plus troubles. (...)
