vive l ' amour
chorus: vive la, vive la, vive l' amour. vive la, vive la, vive l' amour. vive l' amour, vive l' amour, vive la compagnie! !
vive l' amour studio added a new photo. - vive l' amour studio | facebook
vive l' amour, arr. terry j. barham | santa barbara music publishing, inc .
art accompanying story in printed newspaper (not available in this archive): photo from vive l’amour .
with the headline: film festival review: vive l' amour; a new apartment as empty as its occupants .
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[ … ] vive l’amour‘s tsai ming - liang, hou hsiao - hsien is another heavyweight in taiwanese new wave cinema. i and [ … ]
viva l’amour is a puerto rican company that focuses on facilitating the renewal of romance for modern couples .
[ … ] (lee kang - sheng, of vive l’amour), a sushi chef who runs a restaurant - cum - inn in yilan, watches porn to get over his divorce. he [ … ]
vive l’amour (chinese: 愛情萬歲) — taiwan. directed by tsai ming - liang. first released september 1994. running time 1hr 58min. starring lee kang - sheng, chen chao - jung, and yang kuei - mei .
martin, f. (2003). vive l’amour: eloquent emptiness. in c. berry (ed .), chinese films in focus: 25 new takes (pp. 175 - 182). london: british film institute .
[ … ] gay, a rarity for asian cinema as a whole but actually not so novel for taiwanese film (see vive l’amour, among others). the cousins thus bond over mutual unorthodoxy, but their relationship starts to [ … ]
as is the case with tsai’s other films, stylistic elements deepen this sense of isolation. vive l’amour is mostly silent, offering little dialog and virtually no music. long takes and tracking shots proliferate, as if the camera is a languid companion on the characters’ descent into nothingness. there is little action in the movie; even when police are about to crack down on ah - jung’s street stall, it displays little urgency. thus, vive l’amour is very much an art film, providing little for entertainment but much for contemplation .
1. editor' s note: tsai' s most recent film, the river (he liu, 1997), which forms a loose trilogy with rebels of the neon god and vive l' amour, won the silver bear prize at the 47th berlin in 1997 .
i' ve seen a few ming - liang films, but so far vive l' amour (which translates to
long live love
) is his best. it' s a meditative exploration of urban malaise that is more interested in one' s silences than one' s communication, and what those silences mean .
i used viva l' amour to help me plan and achieve the most romantic evening of my life at escambrón beach with the purpose of popping the question. my new fiancee was so surprised and excited that she thought she was dreaming. vival' amour helped me design the perfect moment and not only did what i wanted, but also added an extra touch of romantism to the event .
i now wish that i had seen vive l’amour before watching the hole, tsai’s most recent release. for whatever reason, i lacked patience for, and interest in, that film. but i now see the end of the hole — when one of the two main characters quite literally reaches out to the other — as a moving portent of optimism and human triumph. quite a step beyond may lin’s endless tears .
i’ve always seen taipei as a city of togetherness. to me, it is an abode of extended family, a lively retreat from the banality of suburban california, and place for holidays and discovery. stifling humidity aside, taipei occupies a relatively positive and nostalgic place in my heart. tsai ming - liang’s 1994 film vive l’amour does not share my perspective. to say the least, its taipei is a horribly lonely place .
un potentiel inexploité, ce sera l' adjectif le plus récurent pour parler de aiq ing wan sui, titre original qui sera décliné en
vive l' amour
lors de sa sortie internationale. le pitch avait tout pour plaire: 3 âmes solitaires se rencontrant dans un appartement mis à la vente. or les interprétations (mention spéciale à yang kuei - mei lorsqu' elle ne pleure pas) et la photographie (par liao pen - jung & lin ming - kuo) ne sauvent pas le postulat de départ. on se perd dans ce beau film qui ne présente que trop peu d' enjeux .
but really, this film could be set anywhere. loneliness, and the cities that cause it, are universal. there’s a heavy silver lining to its silence—you could watch it without knowing mandarin or having subtitles, and still come away with the same sense of utter soulless devastation. in this sense, vive l’amour is ironic in more ways than just its title; it’s a piece about unanchored souls on which anyone who wants (though few probably do) can anchor .
a collaboration between several photography and videography houses, vive lamour is the combination of the talent and passion of some of the top singaporean, malaysian and taiwanese wedding vendors .
on that note, vive l’amour has a fantastically ironic title; it’s got plenty of lust but absolutely no love. for the most part, its three characters exist in separate spheres—mei never stays long with ah - jung, ah - jung ends up stealing another key and using the apartment for his own purposes, and hsiao - kang hides under the bed when the couple are going at it. furthermore, their activities in the apartment bring only temporary release at best. in the end, all three are still alone, marooned within taipei’s urban desert .
vive l’amour ends with two stunning sequences. in the penultimate scene, hsiao - kang (lee kang - sheng), a closeted and suicidal young man, crawls into bed with ah - jung (chen chao - jung), an acquaintance who is sleeping soundly. tsai’s camera lingers on the two men for several minutes, allowing us to watch — trapped in a moment of almost hitchcockian suspense — as hsiao - kang leans closer and closer, finally kissing the other man on the mouth without waking him. it’s a remarkable performance. lee’s face is written with conflicted emotion: curiosity, terror, longing, shame, joy .
if and when the macrons win — he has made it clear it will be their joint win — one can expect a return to real l’amour in france, even if it is deemed awfully old - fashioned, tedious and utterly bourgeois by most of the disdainful french. macron supporters chant, “brigitte! brigitte! ” at his rallies and say their amazing relationship is ‘‘a conversation that is continuing 25 years after their first meeting. ” how lucky! how lovely! brigitte herself says, “our love story belongs to us. that is our secret. ”
i got in contact with eric from vive lamour through a friend of mine, who have recently got married & engaged eric for their wedding. i' ve choosen vive lamour out of all because of their impressive (morning highlights) video that they produced for my friend' s wedding & also the affordable price. as i was hosting a lunch banquet, it is important for me to get a professional team to rush out the video during my 2nd march - in. many other studio couldn' t commit to that. although there were some hipcups with the video on my weddingday, but thankfully the team managed to rush it out after our 2nd march - in eventually. they were very commited during the filming (even drones were involved which we were very impressed with). many of our relatives & friends comment that our video was very unique & different from the usual. me & my husband was truely satisfied with the video & the team. i' ll definitely recommend vive lamour to all the wedding couples out there .
the film focuses on three city folks who unknowingly share the same apartment: mei, a real estate agent who uses it for her sexual affairs; ah - jung, her current lover; and hsiao - ang, who' s stolen the key and uses the apartment as a retreat. written by l. h. wong
the end of the film aspires to a grand, antonioni - like gesture with an extended tracking shot of the unhappy mei - mei walking through a desolate urban park. blending allusions to
l' avventura ,
la notte ,
and
the passenger ,
the scene ends with a prolonged, highly emotional closeup of mei - mei .
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for much of the film, the characters co - exist in the apartment without confronting one another. on one occasion, hsiao - kang, to avoid being discovered, hides under a bed on which mei - mei and ah - jung make love. a situation that would normally be played as a bedroom farce is treated instead as a portrait of erotic angst, with overtones of
no exit .
for when hsiao - kang eventually meets ah - jung, he falls secretly in love with him .
both the director and his characters are obsessed with the glossier surfaces of modern life. in this languidly paced film, the camera lingers on the apartment' s spare, immaculate interiors as intently as on the characters' grooming habits. one of the apartment' s attractions is a whirlpool bath in which the characters luxuriously immerse themselves. but as the film makes graphically clear, solitary sensual gratification is no palliative for an underlying sense of emptiness. no sooner has hsiao - kang finished his bath than he slashes his wrist in a half - hearted suicide attempt .
in crucial ways, all three characters are not what they seem. ah - jung tells mei - mei that he works
in imports and exports ,
which seems like stretching things for an unlicensed street peddler who has to hide from the police. hsiao - kang, when alone, acts out an elaborate autoerotic fantasy of himself as a woman. mei - mei, who seems crisp and tough throughout most of the film, is ultimately revealed to be seriously depressed .
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at times, the symbolism becomes heavy - handed. hsiao - kang has a job selling cremation containers. and when the movie takes a digressive tour of an enormous mortuary, the metaphor seems pushy .
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what a ‘prem kahani’! wow! let’s be honest, one of the main reasons the world is taking such an interest in the presidential election in france is because of one woman. no. not marine le pen. but her chief rival emmanuel macron’s wife brigitte. i confess i am obsessed and intrigued by their extraordinary love story. so is international media. whether le pen wins or macron makes it to the elysee palace has become secondary to the role brigitte will play as first lady, if her husband edges out his rival. macron has made it clear his wife will be by his side — officially, with a defined role, if he makes it as top dog next month. as she well deserves to, given the significant role she has played shaping the life of a man who is quarter of a century younger than her. a man she lovingly describes as ‘‘a character from another planet” .
brigitte first met her future husband as a 15 - year - old student in a conservative jesuit school, where she, a much - married teacher, took classes in latin, french and theatre. her daughter was exactly emmanuel’s age and shared a classroom with the schoolmate who would one day become her stepfather. love bloomed when he was playing the lead role in a milan kundera play and the pupil - teacher spent hours together. according to brigitte, she tried to discourage her desperately young and very ardent suitor by getting him to change schools. but at 17, he declared he would eventually marry her, no matter what !
and that’s exactly what happened in 2007, when they exchanged vows, after brigitte obtained a divorce from andre louis auziere, her banker husband (and father of their three children). during his wedding speech, macron thanked her children for “loving us as we are. ” and he told the love of his life, “we’re going to shut people up. ” well, they almost succeeded. today, their relationship has become an issue for political watchers, who are strenuously trying to pick holes in it. critics have suggested macron shares a gay relationship with mattieu gallet, a high - profile radio journalist. but brigitte’s youngest daughter (31) staunchly declares she has yet to meet a “happier couple” than her mother and stepdad. c’est la vie !
the interesting aspect of their unusual love story is the emphasis placed on the age difference, and little else. never mind that another president across the atlantic is also married to someone 24 years his junior. donald trump is 70, melania is 46. men who marry women young enough to be their daughters are admired for their virility and power. it doesn’t quite work the other way around. brigitte is a grandmother of seven. macron visits his step - grandchildren regularly. brigitte’s son sebastien is two years older than him .
amusingly enough, the trogneux (brigitte’s maternal side) family are famed chocolatiers specialising in macrons… the jokes never end. despite the taunts, brigitte says, “love carries everything with it. ” the french are more used to philandering presidents and don’t quite know what to make of this monogamous couple. hollande of the scooter helmet fame (he was caught visiting a movie star, hiding behind it) broke off with valerie trierweiler, his live - in ladyfriend at the elysee after the scandal broke, and promptly reinstated his ex, segolene royal (mother of his four children), in the cabinet. if that sounds complicated and exhausting, hollande’s predecessors jacques chirac and francois mitterand upheld french tradition and honour by not bothering to hide their mistresses or liaisons. hollande’s predilections earned him the respectful nickname ‘mr normal’ .
it is inspiring and reassuring in our cynical and blasé times, to celebrate the macrons and what they share as equal and loving partners. their age difference is a non - issue. macron, a political newbie, is expected to use his formidable intellect and experience as a banker to provide a fresh direction to his country with en marche! — a new centre - left party that believes in a more inclusive france and a strong eu. angela merkel’s spokesperson has already hailed his expected victory, as has european commission’s chief. it is only le pen’s sour supporters who have dissed him for what they dub his ‘bling - bling biz’ attitude. we’ll know soon enough who the french want as president. but for me, he has already won the title of ‘president of hearts’ for his daring ‘pyar kiya toh darna kya’ beliefs .
one of india' s most popular writers, shobhaa de has seen it all: life as a model, a copywriter, a journalist, a socialite, a scriptwriter, a bestselling novelist and a busy mother of six children .
politically incorrect
, which has been appearing as a column in the times of india, carries her sharp observations on politics, society, economy and relationships .
one of india' s most popular writers, shobhaa de has seen it all: life as a model, a copywriter, a journalist, a socialite, a scriptwriter, a bestselling nov ...
now imagine, a married male teacher \ & quot; spending hours \ & quot; with a 17 year old girl. a man whose son is in the same class as this girl. h ...
no one cares for this foreign payroll stooge. too ugly to look at even .
if this is the best journalism india has to offer we are all going to hell in a handcart .
msp hike is a big blunder. farmers are producers, not objects of charity
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a rollicking arrangement that boys will love. the ranges suit a junior high choir, but other age groups will also enjoy this arrangement .
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three lonely young denizens of taipei unknowingly share an apartment used for sexual trysts .
lakeith stanfield and his sorry to bother you crew reveal their most soul - crushing jobs in our freewheeling interview .
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a young man develops severe neck pain after swimming in a polluted river; his dysfunctional parents are unable to provide any relief for him or themselves .
within the urban gloom of taipei, four youths face alienation, loneliness, and moments of existential crisis amidst a series of minor crimes .
while never - ending rain and a strange disease spread by cockroaches ravage taiwan, a plumber makes a hole between two apartments and the inhabitants of each form a unique connection, enacted in musical numbers .
a watch salesman meets a young woman soon leaving for paris and becomes infatuated, so he begins to change all the clocks in taipei to paris time .
on a dark, wet night a historic and regal chinese cinema sees its final film. together with a small handful of souls they bid
goodbye, dragon inn .
a day laborer is badly beaten, and a young man nurses him back to health .
hsiao - kang, now working as a pornographic actor, meets shiang - chyi once again. meanwhile, the city of taipei faces a water shortage that makes the sales of watermelons skyrocket .
an alcoholic man and his two young children barely survive in taipei. they cross path with a lonely grocery clerk who might help them make a better life .
hsiao - kang, a taiwanese film director, travels to the louvre in paris, france, to shoot a film that explores the salomé myth .
a girl (shiang - chyi chen) looks for a street vendor in taipei. but she can' t find him since the skywalk is gone .
the film focuses on three city folks who unknowingly share the same apartment: mei, a real estate agent who uses it for her sexual affairs; ah - jung, her current lover; and hsiao - ang, who' s stolen the key and uses the apartment as a retreat .
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this movie (aiqing wansui) was co - written and directed by ming - liang tsai in 1994. it earned the golden lion of the venice film festival that same year .
the setting is the city of taipeh. mei is an active young woman, working as a real estate agent in a world ruled by men. her emotional life is limited to affairs with men she chooses and meets in one of the apartments that she proposes for sale. one of them, hsia, steals the key of this apartment and decides to live there without mei' s knowledge. one evening, he meets in this apartment ah - jung, a salesman, who also stole one of the keys of the flat and lives there since. ah - jung is suicidal and solitary because of his repressed homosexuality. the two men become friends and successfully manage to hide their presence in the apartment to mei who still does not suspect anything. soon, ah - jung will dare to assume his sexuality by kissing hsia while he sleeps .
the business of fancydancing starring evan adams, michelle st. john, gene tagoban, cynthia geary, elaine miles
note: the views expressed here are only those of the reviewer (s) .
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images: congested and noisy exteriors contrast sharply with starkly decorated (or empty) interiors. very little dialogue — perhaps ten minutes total in two hour film, the majority of which is built from long takes, often shots of solitary characters suffering in silence. favorite images: hsiao - kang carressing and kissing a melon; ah - jung sillhouted against a large apartment window overlooking taipei; may lin looking down a stairwell, where hsiao - kang hides unnoticed; ah - jung emerging slowly from underneath a bed on which may lin is sleeping .
tsai then cuts to his heroine, may lin (yang kuei mei), who is now walking quickly and alone through a park that is muddied by construction. she wants only to put some distance between herself and ah - jung’s bed, from which she has recently escaped quietly after another night of anonymous sex. lin finally rests at an outdoor amphitheater, where she sits and begins to cry. typical of the director’s style, tsai frames her in a medium close - up, then simply allows the camera to run. the scene lasts for five and a half minutes, during which may lin struggles to find composure. but she is able to do so only temporarily before surrendering, again and again, to the sobs. as dennis lim has said of the scene, tsai fades to black “just as you’ve convinced yourself she could go on weeping forever. ”
featured in yang ± yin: gender in chinese cinema (1998). see more »
despite the french title, this slow - moving, self - consciously arty drama is the latest import from taiwan. a homeless gay man (lee kang - sheng) purloins the keys to an empty apartment and takes up residence. before you can say
last tango in taipei ,
he finds himself observing clandestine trysts between a real estate agent (yang kuei - mei) and her handsome, ... read more
three lonely young denizens of taipei unknowingly share an apartment: mei, a real estate agent who uses it for her sexual affairs; ah - jung, her current lover; and hsiao - ang, who' s stolen the key and uses the apartment as a retreat .
the only together is on the edges, and even in orbit of one another, the wholeness and separateness of the body is a silent gulf that swallows up words. everything is buried beneath the surface. cinema of the eyes, of the face, and their inscrutability. it cascades from their eyes and faces .
in a tumble of circumstance, the final scene sees ah - jung and lin having sex on top of a bed, under which hsiao - kang is hiding. he quietly masturbates with them. they stop together and sleep, separated by the thin mattress. his masturbatory echo of their physical connection above him recalls the opening scene in which he stares into his own reflection in a convenience store mirror .
it feels garish to put this into words. if we assume speech to be a metaphor for connection, then we witness here an encapsulation of the spaces between connections. but at the same time, the film tells a complete story with so few words that it puts the lie to that idea; tsai ming - liang barely needs sound to communicate anything. regardless, the story here, the image we are presented, is one of extreme isolation, one of pure, soul - shivering loneliness. every frame speaks to it (lin in an empty, ragged building calling for someone to show up; kang always under the bed, a layer beneath human interaction). every action is inspired by it, including the best moment illustrating the rare beauty of the boredom of isolation and how it inspires something like genius (i refer of course to bowling with watermelon) .
this is a glacially paced study of three desperately lonely people who all live alone in the same taipei apartment, often at the same time .
the story is pretty simple. three people hold keys to an empty taipei apartment: one is a sexually frustrated, suicidal salesman who, after discovering it still attached to the door, uses it for relief from his tedious life, another is mei lin, a female real estate agent who, for her, is just one of the many apartments she' s trying to sell. the final key holder is lin' s lover, who tells her he' s a boss but is actually an…
this is a beautifully devastating and realistic look at different kinds of loneliness three young people suffer while living in a big city. it' s a slow movie, but it fits the theme as i also longed for them to have more people to talk to, have more meaningful experiences with etc. instead of simply living and longing for that which they cannot or do not have .
this is a suggested viewing list of narrative films for the film and visual studies phd offered by harvard university. …
just a list of some pretty cool movie posters on the lb database. i haven' t seen most of these movies. …
sounds as a fine derision. it is a very powerful and atmospheric movie – one of the best by
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it' s been an incredible experience, sharing with couples in one of the greatest days of their lives. even more, having the privilege of creating beautiful photographic and cinematic showcases for them to remember forever .
every couple we meet has a unique story to tell, and the true wonder and beauty of each story we hear can' t be truly told with a step - by - step production formula .
our creative team gives personal and subjective attention to each couple, ensuring that the details of every couple' s story shine through. after all, we are not in the business of simply documenting marriages. we are in the business of crafting life - long memories that live on for generations to come .
our customers lloyd and felicia are a very sensible couple. to show their gratitude for their parents' upbringing, they specially invited our videographers to spend more time to capture the precious moments of their parents, producing an extremely special short film to highlight the importance of their parents in their lives .
usually, the couple will be the main highlight and focus of a morning highlight video. but lloyd and felicia are a unique couple who specifically wanted to emphasize the bravery of their beloved parents .
combining with each of their speeches dedicated to their parents, this is a video that you should not miss .
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yo utilicé a viva para que me ayudara a planificar la ocasion mas romantica e inolvidable de mi vida y de mi pareja... la noche en que le pedí que sea mi esposa. fue una velada al aire libre que jamas olvidaremos. viva me ayudó a encontrar el lugar perfecto y los detalles ideales para iniciar nuestro compromiso... mi prometida pensó q era un sueño. gracias ,
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vive l'amour is a 1994 taiwanese new wave film by tsai ming-liang . it is a slow-paced film with sparse dialogue about urban alienation , centering on three people who unknowingly share an apartment in taipei . 
vive l'amour is a 1994 taiwanese new wave film by tsai ming-liang. it is a slow-paced film with sparse dialogue about urban alienation, centering on three people who unknowingly share an apartment in taipei.
vive l'amour is a 1994 taiwanese new wave film by tsai ming-liang. it is a slow-paced film with sparse dialogue about urban alienation, centering on three people who unknowingly share an apartment in taipei.