The Skywalk is Gone

While Tsai Ming-Liang’s 2002 short The Skywalk is Gone provides a succinct narrative bridge between his previous feature What Time Is It There? and his most radical work, 2005’s The Wayward Cloud, it also represents somewhat of a thematic and aesthetic holding pattern. But if Tsai seems chiefly concerned with moving his characters into proper position for his next feature while deferring any further artistic explorations, he nonetheless presents his signature concerns with a compelling economy, reproducing earlier triumphs – both through repetitions of established aesthetic strategies and direct allusion – and neatly summing up his cinematic achievement to date.

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