Directed by Hou Hsiao-Hsien
I saw The Assassin at this year’s Melbourne International Film Festival (MIFF), and it was a strange experience on a few levels. Prior to this, The Assassin won Hou Hsiao-Hsien the Best Director prize at Cannes, so naturally the session I went to was packed out to the brim. Interestingly however, no other session I went to at MIFF had as many walkouts as this one. People were constantly trickling out of the door for the first half of the film. The projector in the cinema was certainly out of focus, but still – who’s to blame for the disparity? The film or the audience? The film plays out in 4:3 aspect ratio, and contains a certain stillness that one would assume Western audiences maintain an aversion towards to this very day. What do most audiences want when they pay their money to see a film? Do they want to be challenged, to be opened up to different cultures, or simply distracted from their own lives for two hours? Who knows. Regardless, The Assassin is by all means a different experience: one that pays tribute to an ancient history and tradition, with a stoic style and form that is as uncommon as you’ll find in today’s contemporary cinema. It may not deliver at an electrifying pace, but it’ll become a film that lingers inside the soul, with every frame filled to the brim with beauty.