" A watermelon can not express what the words say, a watermelon in this hot weather is more severe nde gesture of love. Offer watermelon is the most sincere and economical to say what we have at heart, to inform the person a loved one that otherwise would not ever dare. The code watermelon is direct, immediate and precise. A small yellow watermelon means-the two of us there just friends -Izia. A large red watermelon as a gift shows the hotter of all loves. A small watermelon red indicates a love so that is about to explode. "
A-Shiang Taipei C 
hyi is a girl who hears these words on TV , Hsiao-Kang sadistically masturbating a woman through a large watermelon red, the city is gripped by a severe drought and the government recommends consumption of watermelons. "The taste of watermelon (but it sounds like the original title" The wayward cloud "that derives from a song and alludes to the loneliness of the human encounters) is the ideal result of" What Time Is It over there? "Shiang-Chyi returns from Paris and meets Hsiao, love who they like CONOS has never disappeared. It no longer sells watches (as in the previous film), has become a porn actor and works in an apartment in the same building where he lives Shiang-Chyi. The director Tsai Ming-Liang shows the loneliness of two characters (and their love) in a bleak urban landscape: the geometric compositions of the shooting on large infrastructure put in Taipei at the mercy of their players alienation, existential emptiness of the city and its population. The dramatic dark and empty carry is interspersed with musical interludes sung five of taste extremely kitsch, very colorful and imaginative, is mandated to tone down and explain the mood of the characters. These consist of entr'actes times more mobile and adventurous (as compared to the rest): the cinema of silence, the long shots still is an aesthetic choice for the director. (I quote an example at the end of break).
The film opens with a long shot over a basement and an extreme and fetish sex scene where the watermelon is physical metaphor of the vagina: the enjoyment of the woman is back at the fake sex pornography. All this in assembly and Shiang-Chyi alternate drinking watermelon juice in his apartment, and how can economize water bottles . Nel loro girovagare i due si rincontrano su di un altalena in un parco. Il regista compone la scena con quattro lunghe statiche inquadrature della durata totale di 6 minuti. Nella prima la protagonista ruba una bottiglia d'acqua, per pulire un anguria, a l'ignaro ex-amante che sta dormendo;
Nella seconda lo riconosce, si siede davanti a lui e rimane a guardarlo fino a che a sua volta si addormenta nella terza.
Nell'ultima inquadratura Hsiao-Kang si sveglia e guarda la recognizing girl, she wakes up and asks the one question / dialogue between the two films, "still sell watches?" confirming the identity of the protagonists of "What Time Is It There?".
Director in the composition of this scene invites us to look at. It is daily, it is not built to stimulate emotions easily (see: the contemporary American film special effects). To do this makes use of the pure simplicity of the still pictures at the edge of boredom: not using any technical device and drama to keep us in front. Only the "Watching" images, there must stimulate and carries the necessary information for the film. She looks at him while he sleeps, he looks at you while sleeping and we watch them through the camera (camera) is an invitation to investigate the watch and its points of view. The camera becomes a strong presence, not camouflaged, but his language reveals it to us with force as if it were a character in the scene.
is that after about 40 minutes Tsai Ming-Liang takes its characters to work in a museum where you steal water from public toilets and he dressed as a porn actor. This is the most metacinematografica the film: the camera takes a "set pornographic" featuring actor and actress, operatore, addetto luci e regista.
Il film svela i mezzi del proprio mestiere in modo agghiacciante: lo fa con un porno che celebra drammaticamente il falso sesso come nella prima scena dell'anguria. Non manca l'umorismo: a causa della siccità il regista è costretto a simulare la doccia tramite una bottiglia bucata, e le bottiglie finiranno prima del previsto. Quale è la differenza tra la mdp del film stesso e quella del set pornografico? La “nostra” ci m ostra un immagine che dobbiamo indagare (solo 3 inquadrature, 2 lunghe e ultima con eiaculazione facciale forse solo per provocazione) mentre la mdp del porno monta le immagini per dare ad un determinato pubblico una determ inata attrazione (cinema degli effetti speciali come cinema pornografico?). Qui (come in una scena allo stesso modo successiva) si concentra la maggior parte dei dialoghi del film: insignificanti. La solitudine dei protagonisti è comunicazione impossibile e solitudine sessuale, anche chi ha dei sentimenti sembra non riuscire a mostrarli a causa di una repressione che sembra costretta. Non a caso Hsiao-Kang si masturba di nascosto mentre guarda la collega recitare, si eccita di fronte al falso e lo fa con vergogna in un impulso di liberazione come di chi è costretto in catene a reprimere la propria sessualità, e anche qui il regista ci mostra in un macro l'eiaculazione dell'attore. E' in un video-noleggio porno che i due protagonisti si scambiano le unic he effusioni del film: un bacio che sfocia in enfasi sessuale improvvisa subito interrotta da Hsiao-Kang come a voler dire “meglio di no, ti voglio bene” che porta con sé un sesso malato.
Il falso come tema portante del film ritorna anche nella composizione drammatica. Tsai Ming-Liang's film tells the story through the shadows of the characters, projections of reality. It 's a false world that needs to come up with the girl that simulates a party with a watermelon. Shiang-Chyi is a colleague of Hsiao-Kang fainted in the elevator, the rescued, finds pornographic DVDs in his possession. He discovers that his ex-seller of watches is a porn star. The girl looks at movies and we become spectators of a spectator is not interested in pornographic video emotions: she is surprised by the implications of his view, is forced to look at images from a harsh and uncomfortable reality.
From here you get to the final scene which caused a scandal at the Berlin Film Festival 2005. The girl fainted in the set is shown pornography. Show must go on, even if you turn fainted. It 's like watermelon, only an object that reference to delight viewers of porn that therefore look like the image of the fetish of the screen.
Shiang-Chyi assists spectator from a window, the two lay in a desperate pessimism, under the false sex she begins to moan, stopped at the end of the raw blowjob / protagonist with ejaculation her face surrounded by her sex.
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