'If myths and memories are the source material for filmmaking, Tsai, like all filmmakers, is first and foremost a mythologist, whose one final possible choice, according to Roland Barthes, is between two equally extreme methods: “either to posit a reality which is entirely permeable to history, and ideologize; or, conversely, to posit a reality which is ultimately impenetrable, irreducible, and, in this, case, poetize” [...]. Tsai’s films, however, demonstrate that the boundary between dreamscape and reality is porous, and that filmmakers can be adept at the tasks of ideologizing and poetizing. Indeed, his cinema of slowness is at once poetry and ideology. For Tsai, dreamscape should not be produced quickly in factory; rather, it should be as unique and distinctive as each person’s fingerprints and signature. Informed by cinephilia, imbued with nostalgia, and signed by an auteur, his cinema of slowness is marked by poetry of stillness and silence [...].'

Song Hwee Lim, Tsai Ming-liang and a Cinema of Slowness, publisher: University of Hawai‘i Press

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