Directing
In Taiwan pornography is still a socially unacceptable taboo. Firmly and ironically, Su Hui-yu indulges in a visually powerful long shot enhanced by unexpected pop art colours. A classic hardcore esthetic is represented in a gallery of a tableaux vivants that demand their freedom, alternating movement and immobility, the denial of pleasure and the pursuit of it.
This spectacularly eccentric satire by Su Hui-Yu draws on 1970s Taiwanese TV culture and has a roller-skating Hitler dance with Stalin and Mao do the same with Chiang Kai-shek. A revue show of dictators in cahoots with the entertainment industry.
In artist Su Hui-yu’s signature style, a moody slow-motion pan captures a wild, glitter-scattered, blood-splattered orgy during the Tang dynasty. The film is an invocation of scenes from 1985 Taiwanese cult film Tang Chao Chi Li that only existed in the screenplay, unfilmed until now due to what can only be imagined as budgetary restrictions and censorship pressures during the Martial Law era. Presented without narrative context, the orgiastic murder scene plays out like an unsettling nightmare.
In the early 1980s, hundreds of the so-called female revenging/exploitation films were produced in Taiwan. The 2020 version was based on the old genre to recreate a fantasy of the bloody revenge. The film is one of Su Hui-Yu’s “Re-shooting” series, which re-visits historical sources in Taiwan during the old days around the 1970s-1980s while the country was under martial law governance.
On a planet where a long-standing martial law prevailed, the earthman living in exchange for time, strictly adhered to discipline and worked tirelessly. One day, they were invaded by the Devil's Party from the “Funkmi Galaxy”, where indulgence and obscenity rules day and night, posing an unprecedented threat to the Earthman’s morals. Meanwhile, the Space Worriers from the same Funkmi Galaxy were determined to protect these hardworking creatures at all costs.
In 1970, American futurist Alvin Toffler's iconic work Future Shock was published. One year later, a translation by Zhiwen Publishing House hit the market in Taiwan, thus introducing the writer's theories to readers of Chinese. The premise of the book can be summed up as: “A future that comes too quickly creates more apprehension than that of a foreign land. Future society will be stricken with a plethora of choices, throw-away society, information overload, and unethical technology.”
Originally designed as a multi-channel video installation, the film The Walker ingeniously deconstructed the background stories and the plays of the legendary Taiwan Walker Theatre which pretty much represents some underground culture scenes of 1990's Taipei. Based on a multi-character narrative structure, the film re-interprets the velocity, prime-time, rebellion, physical pleasure and ethical minefield referred to in these plays. With its Dream-like images, The Walker reminds us of the utopia pictured previously by the Taiwan Walker Theatre, indicating a polysemous, hybridized art world whose components range from the sublime to the ridiculous.
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A, the last human on the planet. X, the god, demon, or the future in A's nightmares. In 1972, a futurologist book precisely predicted the human destiny manifested in East Asia. In an unknown era, the last human found a mysterious message from an electronic device and embarks on a quest for a future from the past. In ten chapters, the audience explores this dream-like prophecy.
