Exit Screen 4 articles



Exit Poster
  • Chienn Hsiang’s film may be the most forgettable film I saw at this year's festival, but it’s not bad precisely because it’s genetically engineered not to be. That is, this Taiwanese entry feels throughout as if it was concocted from a "How to Make an East Asian Art-house Movie That Will Appeal to Programmers At Western Film Festivals" cookbook: two parts Tsai, two parts Apichatpong, a dash of Hou and Edward Yang, Jia to taste.

  • Exit, the debut feature of longtime director of photography Chienn Hsiang, is startlingly accomplished. In scenes that play out with scant dialogue, the daily rhythms of Ling, an isolated, middle-aged Taiwanese woman (Chen Shiang-chyi), repeat themselves with increasing desperation.

  • A film that places its belief in the power raw sensuality over bulbous streams of dialogue and contrived dramatics, Chienn Hsaing’s Exit is an offering which showcases the cumulative emotional effect of expertly devised visual storytelling combined with a fearless lead performance.

  • Exit is first of all an arresting and unbearable portrayal of loneliness, which is fast becoming one of the early twenty-first century’s chief motifs. The debut narrative feature of renowned Taiwanese cinematographer Chienn Hsiang, the film could be classified as a collaboration with its main actress and vehicle, Chen Shiang-Chyi, a veritable auteur’s actress, best known for her work with directors Tsai Ming-Liang and Edward Yang.

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