Slowing down the pace
In any case, Tsai did win his second “best director” prize for Stray Dogs.
Tsai, whose Vive l’Amour won a Golden Lion at the 1994 Venice Film Festival, and who was named best director at that year’s Golden Horse Awards, is a highly revered filmmaker. But there is a lot in his works that is difficult for outsiders to understand.
His 1997 film The River, which included homosexual love and sex, created a huge controversy at the Golden Horse judges’ conference, with opinion divided into two sharply opposed camps. After that experience, Tsai decided not to submit any more films to the awards. It was only when Hou Hsiao-hsien became chairman of the Golden Horse executive committee in 2009 that he returned to the competition with Face.
In his remarks, Tsai emotionally described his feelings about the Golden Horse Awards as “a love–hate relationship.” But this year he was obviously feeling upbeat: “I’m a Malaysian Overseas Chinese, and I’ve had my conflicts with the Golden Horse Awards, but now I’m able to come here again and receive this award…. This could only happen in Taiwan.” He said that the Golden Horse Awards finally slowed down to wait for him, and he thanked the jury for giving him the encouragement to keep going.
Tsai has in his work continually explored different forms that films can take. The rhythm of Stray Dogs is very slow, the plot is fragmented, and characters suddenly appear and then disappear never to return. The movie resembles a series of still life paintings.
Mainland Chinese star Zhang Ziyi made her screen debut at age 19, and honed her skills under directors such as Zhang Yimou and Ang Lee. Her portrayal of Gong Er in The Grandmaster makes her a worthy recipient of the 2013 Golden Horse for best leading actress.