1. Early Life and Background
Tsai Ming-liang's formative years and education played a crucial role in shaping his unique artistic vision and identity as a filmmaker.
1.1. Birth and Childhood
Tsai Ming-liang was born on October 27, 1957, in Kuching, Sarawak, which was then part of the Crown Colony of Sarawak under the British Empire and is now part of Malaysia. He is of Chinese descent and spent his first 20 years in Kuching. This early period had a significant impact on his psyche, leading him to express a feeling of belonging neither to Taiwan nor to Malaysia, but rather a sense of being able to fit in anywhere while never truly feeling a sense of belonging.
1.2. Education and Move to Taiwan
In 1977, at the age of 20, Tsai moved to Taipei, Taiwan. He pursued his academic interests at the Chinese Culture University, where he graduated from the Department of Drama and Cinema in 1982 with a Bachelor of Arts degree. His studies in film and theater laid the groundwork for his future career in the arts.
1.3. Early Career in Hong Kong
Following his graduation, Tsai Ming-liang embarked on his professional career in Hong Kong. He initially worked as a theatrical producer, screenwriter, and television director. From 1989 to 1991, he directed several telefilms, including Boys, which notably starred Lee Kang-sheng, who would later become his long-term muse and appear in all of Tsai's feature films.
2. Filmmaking Career
Tsai Ming-liang's filmmaking career is marked by a consistent artistic vision, evolving thematic concerns, and a steady stream of international recognition.
2.1. Debut and Rise to Prominence (1992-1998)
Tsai Ming-liang made his feature film debut with Rebels of the Neon God (1992), a film exploring the lives of troubled youth in Taipei. This film introduced audiences to Lee Kang-sheng in the role of Hsiao-Kang, a character who would become a recurring figure in many of Tsai's subsequent works. The film received the Best Picture award at the Zhongshi Wanbao Film Awards in Taiwan and the Bronze Award in the Young Cinema section at the 6th Tokyo International Film Festival in 1993.
His second feature, Vive L'Amour (1994), solidified his signature style. The film, which depicts three individuals unknowingly sharing an apartment, is characterized by its slow pacing, minimal dialogue, and themes of alienation-elements that would become hallmarks of Tsai's oeuvre. Vive L'Amour garnered significant critical acclaim, winning the Golden Lion at the 51st Venice International Film Festival and the Best Feature Film and Best Director awards at the Golden Horse Film Festival and Awards.
Tsai's next film, The River (1997), continued his exploration of familial dynamics, focusing on a family grappling with the son's persistent neck pain. The family in this film is portrayed by the same three actors who appeared in Rebels of the Neon God. The River earned Tsai the Silver Bear - Special Jury Prize at the 47th Berlin International Film Festival. In 1998, he released The Hole, a film about two neighbors in an apartment building, which notably incorporated several musical numbers and received the FIPRESCI award at the 1998 Cannes Film Festival.
2.2. International Recognition and Thematic Development (1999-2009)
The late 1990s and 2000s saw Tsai Ming-liang continue to develop his distinctive style and explore new thematic territories, further cementing his international reputation. His film What Time Is It There? (2001), a co-production with France, marked the first collaboration with actress Chen Shiang-chyi, who would star alongside Lee Kang-sheng in several of his subsequent films. The film features a man and a woman who meet in Taipei before the woman travels to Paris. It received a Special Jury Award at the 38th Golden Horse Awards and Best Film and Best Director at the 46th Asia-Pacific Film Festival.
In Goodbye, Dragon Inn (2003), Tsai focused on the patrons of an old cinema on its closing night. This film pushed his stylistic boundaries further, featuring even longer shots and fewer lines of dialogue, a trend that would continue in his later works. It was awarded the FIPRESCI prize at the 60th Venice International Film Festival and a Special Jury Award at the 48th Asia-Pacific Film Festival.
The Wayward Cloud (2005) served as a sequel to What Time Is It There?, depicting Hsiao-Kang and Shiang-chyi's reunion and the beginning of a relationship while Hsiao-Kang works as a pornographic film actor. Similar to The Hole, this film included several musical numbers. It was a significant success in Japan, becoming the highest-grossing domestic film of the year. The film also received the Alfred Bauer Prize, the Silver Bear for Outstanding Artistic Achievement, and the FIPRESCI award at the 55th Berlin International Film Festival.
Tsai's 2006 film, I Don't Want to Sleep Alone, was his first feature set in Malaysia, exploring the lives of two distinct characters, both portrayed by Lee Kang-sheng. The film faced controversy when the Malaysian Censorship Board initially banned it in March 2007, citing 18 scenes that allegedly depicted the country "in a bad light" due to cultural, ethical, and racial concerns. However, the ban was later lifted after Tsai agreed to censor specific parts of the film as required by the board. His 2009 film, Face, tells the story of a Taiwanese director who travels to France to shoot a film.
2.3. Later Works and Experimental Projects (2010-Present)
The 2010s saw Tsai Ming-liang continue his artistic journey, with a focus on both feature films and a significant expansion into experimental and exhibition-based projects.
His next major feature film was Stray Dogs (2013), which depicts the struggles of a homeless family. The film earned the Grand Jury Prize at the 70th Venice International Film Festival and the Best Director award at the 50th Golden Horse Awards. Following its release, Tsai indicated his intention to retire from commercial filmmaking, though he continued to create art films and experimental works.
Much of Tsai's output in the 2010s was dedicated to his "Walker" series, an ongoing collection of exhibition films and video works that began in 2012 and continued through 2024. This series centers on a monk, always portrayed by Lee Kang-sheng, who travels by walking slowly, often amidst bustling urban environments.
In 2017, Tsai directed his first virtual reality (VR) content piece, The Deserted, which was recognized as the Best VR Film at the 74th Venice International Film Festival. His 2020 film, Days, competed for the Golden Bear at the Berlin International Film Festival and received the Teddy Award Special Jury Award. In 2021, he released Wandering, a short installation film with no dialogue, which follows a woman visiting an exhibition of Tsai's "Walker" series in Taiwan.
In December 2024, Tsai Ming-liang is scheduled to make his Australian debut at an "In Conversation" event at the Gallery of Modern Art (GOMA) in Brisbane. This event will coincide with a special retrospective of his work as part of QAGOMA's Asia Pacific Triennial of Contemporary Art.
3. Filmography
Tsai Ming-liang's diverse filmography spans feature films, experimental series, short films, documentaries, and telefilms, showcasing his prolific and varied artistic output.
3.1. Feature Films
| Year | Title |
|---|---|
| 1992 | Rebels of the Neon God (青少年哪吒Qīngshàonián NǎzhāChinese) |
| 1994 | Vive L'Amour (愛情萬歲Àiqíng WànsuìChinese) |
| 1997 | The River (河流HéliúChinese) |
| 1998 | The Hole (洞DòngChinese) |
| 2001 | What Time Is It There? (你那邊幾點Nǐ Nàbiān Jǐ DiǎnChinese) |
| 2003 | Goodbye, Dragon Inn (不散Bù SànChinese) |
| 2005 | The Wayward Cloud (天邊一朵雲Tiānbian Yī Duǒ YúnChinese) |
| 2006 | I Don't Want to Sleep Alone (黑眼圈HēiyǎnquānChinese) |
| 2009 | Face (臉LiǎnChinese) |
| 2013 | Stray Dogs (郊遊JiāoyóuChinese) |
| 2020 | Days (日子RìziChinese) |
3.2. "Walker" Series
| Year | Title |
|---|---|
| 2012 | No Form |
| 2012 | Walker |
| 2012 | Diamond Sutra (金剛經Jīngāng JīngChinese) |
| 2012 | Sleepwalk (夢遊MèngyóuChinese) |
| 2013 | Walking on Water |
| 2014 | Journey to the West (西遊XīyóuChinese) |
| 2015 | No No Sleep (無無眠WúwúmiánChinese) |
| 2018 | Sand |
| 2022 | Where |
| 2024 | Abiding Nowhere |
3.3. Other Exhibition and Short Films
| Year | Title | Notes |
|---|---|---|
| 2001 | Fish, Underground (or A Conversation with God) | Part of the omnibus film Three Times (三人三色Sānrén SānsèChinese) |
| 2002 | The Skywalk Is Gone (天橋不見了Tiānqiáo BùjiànleChinese) | |
| 2004 | Aquarium | Segment of the omnibus film Welcome to São Paulo |
| 2007 | It's a Dream | Segment of the omnibus film To Each His Own Cinema (Chacun son cinémaShakun son sinemaFrench) |
| 2008 | Madame Butterfly (蝴蝶夫人Húdié FūrénChinese) | Part of the Lucca Film Festival project "Twenty Puccini" |
| 2012 | Walker | Segment of the omnibus film Beautiful 2012 |
| 2013 | Walking on Water | Segment of the omnibus film Letters from the South |
| 2015 | Xiao Kang | |
| 2015 | No No Sleep | Segment of the omnibus film Beautiful 2015 |
| 2017 | The Deserted (家在蘭若寺Jiā Zài Lánruò SìChinese) | First VR content film |
| 2019 | Light | |
| 2021 | Wandering (漫步精心Mànbù JīngxīnChinese) | Also known as Casually |
| 2021 | The Night (良夜不能留Liángyè Bùnéng LiúChinese) | |
| 2021 | The Moon and the Tree | |
| 2022 | Where do you stand, Tsai Ming-Liang? |
3.4. Documentaries
| Year | Title | |
|---|---|---|
| 2008 | Sleeping on Dark Waters | |
| 2015 | That Afternoon (那個下午Nà Gè XiàwǔChinese) | Also known as Afternoon |
| 2018 | Your Face (你的臉Nǐ de LiǎnChinese) |
3.5. Telefilms
| Year | Title |
|---|---|
| 1989 | Endless Love |
| 1989 | The Happy Weaver |
| 1989 | Far Away |
| 1989 | All Corners of the World |
| 1990 | Li Hsiang's Love Line |
| 1990 | My Name is Mary |
| 1990 | Ah-Hsiung's First Love |
| 1991 | Give Me a Home |
| 1991 | Boys |
| 1991 | Hsio Yueh's Dowry |
| 1995 | My New Friends |
3.6. Recurring Collaborators
Tsai frequently recasts actors he has worked with on previous films:
| Actor | Rebels of the Neon God (1992) | Vive L'Amour (1994) | The River (1997) | The Hole (1998) | What Time Is It There? (2001) | Goodbye, Dragon Inn (2003) | The Wayward Cloud (2005) | I Don't Want to Sleep Alone (2006) | Face (2009) | Stray Dogs (2013) | Days (2020) |
|---|---|---|---|---|---|---|---|---|---|---|---|
| Lee Kang-sheng | Yes | Yes | Yes | Yes | Yes | Yes | Yes | Yes | Yes | Yes | Yes |
| Lu Yi-ching | Yes | Yes | Yes | Yes | Yes | Yes | Yes | ||||
| Yang Kuei-mei | Yes | Yes | Yes | Yes | Yes | Yes | Yes | ||||
| Chen Shiang-chyi | Yes | Yes | Yes | Yes | Yes | Yes | Yes | ||||
| Chen Chao-jung | Yes | Yes | Yes | Yes | Yes | Yes | |||||
| Miao Tien | Yes | Yes | Yes | Yes | Yes | ||||||
| Norman Atun | Yes | Yes |
4. Awards and Honors
Tsai Ming-liang has received numerous prestigious awards and honors throughout his career, reflecting his significant contributions to international cinema.
- In 1994, he won the Golden Lion for Vive L'Amour at the 51st Venice International Film Festival. This film also earned him the FIPRESCI award at the same festival.
- At the 47th Berlin International Film Festival in 1997, The River was awarded the Silver Bear - Special Jury Prize.
- For The Hole, Tsai received the FIPRESCI award at the 1998 Cannes Film Festival.
- In 2001, What Time Is It There? received a Special Jury Award at the 38th Golden Horse Awards and Best Film and Best Director at the 46th Asia-Pacific Film Festival.
- His 2003 film, Goodbye, Dragon Inn, was honored with the FIPRESCI award at the 60th Venice International Film Festival and a Special Jury Award at the 48th Asia-Pacific Film Festival.
- At the 55th Berlin International Film Festival in 2005, The Wayward Cloud was highly recognized, receiving the Alfred Bauer Prize, a Silver Bear for Outstanding Artistic Achievement, and the FIPRESCI award.
- In 2013, Stray Dogs was awarded the Grand Jury Prize at the 70th Venice International Film Festival. That same year, Tsai also won the Best Director award at the 50th Golden Horse Awards for Stray Dogs, the Best Director award (Asian Africa Feature Film category) at the 10th Dubai International Film Festival, and the Special Jury Award at the 17th Tallinn Black Nights Film Festival.
- In 2014, Stray Dogs received the Best Film Still Awaiting U.S. Distribution award from the National Society of Film Critics.
- His 2020 film, Days, received the Teddy Award Special Jury Award at the 70th Berlin International Film Festival.
- In 2015, No No Sleep was recognized as the Best Creative Short Film at the 52nd Golden Horse Awards.
- In 2017, his VR film The Deserted won the Best VR Film award at the 74th Venice International Film Festival (Venice VR Expanded).
- In 2019, Your Face won the Best Documentary award at the 56th Golden Horse Awards.
- In 2021, The Night won the Best Short Documentary award at the 58th Golden Horse Awards.
Tsai Ming-liang has also served on international film festival juries. In 1995, he was a member of the jury at the 45th Berlin International Film Festival. In 2003, the British newspaper The Guardian ranked Tsai as No. 18 among the 40 best directors in the world. In 2014, the government of France honored him by naming him an officer of the Order of Arts and Letters.
5. Personal Life
Tsai Ming-liang is openly gay and has often incorporated queer themes into his films, reflecting aspects of his identity and experiences. Since 2021, he has resided in the mountains near Taipei, where he dedicates his time to renovating and living in abandoned apartments. He shares his living spaces with his long-term collaborator and muse, Lee Kang-sheng, maintaining a platonic relationship.
6. Critical Reception and Artistic Impact
Tsai Ming-liang's films are widely recognized for their distinctive style and profound thematic concerns, establishing him as a significant voice in contemporary cinema. Critics frequently highlight his use of slow pacing, long takes, and minimal dialogue, which create an immersive and contemplative viewing experience. This deliberate approach often evokes feelings of alienation, loneliness, and the complexities of human connection in urban environments.
His work is often discussed in the context of the "Second New Wave" of Taiwanese cinema, alongside contemporary like Hou Hsiao-Hsien and Edward Yang. Tsai's films are praised for their unique aesthetic, which prioritizes visual storytelling and the emotional depth conveyed through the actors' performances and the mise-en-scène, rather than relying heavily on conventional narrative structures. The recurring presence of actor Lee Kang-sheng in all of his feature films is a notable aspect of his artistic practice, with Lee serving as a consistent vessel for Tsai's exploration of human vulnerability and existential themes.
Tsai's artistic impact extends beyond the film festival circuit. His films have been the subject of retrospectives and exhibitions at major cultural institutions worldwide, affirming his status as an auteur whose work transcends traditional cinematic boundaries. His willingness to experiment with form, such as incorporating musical numbers in films like The Hole and The Wayward Cloud, and his ventures into virtual reality with works like The Deserted, demonstrate his continuous push against conventional filmmaking norms. His critical acclaim, including being ranked among the world's top directors by The Guardian, underscores his lasting legacy and influence on global cinema.