Synopsis
An uncompromising look into urban life from the eyes of a voyeuristic photographer, a rebellious teenager, and a married couple teetering on the edge of adultery.
Terrorizers
Cast
Director
Producer
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Editor
Cinematography
Assistant Director
Executive Producer
Art Direction
Composer
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Alternative Titles
The Terroriser, The Terrorisers, 공포분자, Le Terroriste, The Terrorizers, Horror Horror Minute Child, 恐怖份子, Terrorista, Kong Bu Fen Zi, Terroristas, Teröristler, Вселяющий страх, Terroryści, Terroritzadors, Teroristé
Genres
Themes
Releases by Date
Premiere
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Czechia
Filmasia Film Festival
Theatrical
19 Dec 1986
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Taiwan
14 Dec 2011
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FranceU
17 Sep 2020
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South Korea15
Releases by Country
Czechia
01 Dec 2006
- Premiere Filmasia Film Festival
France
14 Dec 2011
- TheatricalU
South Korea
17 Sep 2020
- Theatrical15
Taiwan
19 Dec 1986
- Theatrical
Popular reviews
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The equivalent of a cinematic jigsaw puzzle...the answer (?) being that there is no real answer, only a series of juxtapositions between spaces related and unrelated. And perhaps it's only up to us and not him to answer it. Or question it. Yang films as though he came from a different age, and is stunned by the strangeness of objects and spaces of the latter 20th century, and must fixate on it. Initially it seems a treatise on inauthenticity, remiscinent of another masterful film about a world without thought (Fincher's Gone Girl) yet layers and layers of narrative and juxtaposition peel and unfold upon our eyes. The only innocent person here is the girl who makes the prank phone-calls, because…
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Some fun Edward Yang facts:
1. His favorite color is red.
2. He has a degree in electrical engineering.
3. He was married to Tsai Chin.
4. He died of colon cancer.
5. He invented celluloid.
6. He was the first filmmaker. -
The first time I watch an Edward Yang movie, every Edward Yang movie, I'm pretty much confused the whole time but end up thinking that it's really good. The second time I watch an Edward Yang movie, I think it's the greatest movie ever made.
Something about art and beauty and truth and lies and which lies are good (the art ones) and which lies are bad (the real ones) and how mixing them up is about the most dangerous thing a person can do, for themselves and for the whole community.
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Picked by: basedghostpurrp, your friend, puffin, David Wheeler, Ludo, Kira, ComicTwerk4Sans, and Kosta Jovanović.
Empty spaces contain the most. It is the absence of something that provides the best outline of it. Edward Yang's camera will move and linger away from people. Individuals in his films don't represent themselves, they represent us all. Yang is a contradiction, because his films are the most thorough examinations of internal struggle, but through that he makes a point about his country, our society, and all mankind.
There are two central pillars of society that Yang explored throughout his career, from That Day, on the Beach to A Brighter Summer Day to Yi Yi. One is the cycle of life, our…
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The network narrative film too often makes a grand to-do of its domino narrative assembly, picking an obvious point to coalesce its threads into one overarchingly simplistic statement about the connected state of our modern existence. The Terrorizers completely flips that script: its plotlines happen simultaneously, with each arc's individual catastrophes played as separate but equal actions that influence other storylines but never meet into one unified statement of closure. In fact, the moments in which arcs collide tend to bring ruin all around, splintering the characters even as circumstance causes them to ricochet off each other from time to time. It's connectivity as an alienating hell of globalization, one where a palette of neutral white epitomizes a de-culturizing homogeneity…
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Coincidence is a tricky narrative characteristic to work with when suspension of disbelief is a factor in the quality of your work. Obviously, in a vast and random universe, coincidence exists, but recognizable coincidence as a feature of your narrative risks unbelievability because of its rarity. Either things have an explanation, or the connections are invisible to the point that you can't tell things are related. In real life, coincidence is either too mundane to matter or so obfuscated as to be unnoticed. In a story such as this, where it is the focal point of the rather low key plot, the unlikelihood of a coincidence matters a great deal.
Yang pulls it off neatly, by keeping the entire narrative…
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It makes sense that Terrorizers gives even larger emphasis to architecture than Yang's already very architecture oriented filmography, as it is really a film about inhabiting and sharing places. As far as anti-city symphonies goes, none hit so hard. It is a movie that is predicted in happening after, an investigation of what "moving on" actual means under those circunstances and what is getting shared couldn't be more troubling.
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the psychic fallout of martial law. vintage Yang, but i regret not boning up on my Taiwanese history until *after* watching this. at the very least should have revisited Hou's CITY OF SADNESS. fascinating to see a metropolitan mosaic (in the vein of Altman or, um, CRASH) that refuses to sacrifice Yang's steady and calculated compositions... none of the frenzied and fluid movement that tends to typify this sort of film. Yang's obsession with haunted imagery and the merciless power of private despair is certainly on full display here, paving the way for his later masterpieces. suspect that this one will benefit enormously from future visits.
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A living, breathing proof that multi-plot narratives can be profound and penetrating. The film that best exemplifies Edward Yang's exposure to the arts and ideologies of the west, it vividly portrays the slow disintegration of life in modern Taipei. When things do come to a boil, they are all the more shocking. Set in a time of rapid societal transformation, this layered and self-reflective film is as specific as it is universal.
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Even the tiniest implication can create a irrevocable rupture within the fabric of a cycle long past its due date, and with technology, that implication doesn't necessarily even have to be real. Just the rupture will provide the undoing itself.
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Static frames suggesting stagnant lives, aimless beings roaming in 80's Taipei, not so much as colliding but rather merely brushing past each other by chance, leaving microscopic marks that no one would even bother to look twice, such an insignificant impact -- like snowflakes landing on bamboo leaf. However, as the chinese saying goes: madness, is just like gravity, all it takes is a little push. No use explaining, they don't understand, I do. This is Edward Yang's Joker.
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Edward Yang is primarily known for his two towering cinematic mammoths : A Brighter Summer Day and Yi Yi. While his earlier works aren't as well known, one of them is his angriest, rawest and most unconventional film. Showing itself little by little, slowly becoming a whole as the puzzle pieces start falling into place, Terrorizers is a maze of urban alienation. The characters float along half-dead, not knowing what they want or who wants them.
Terrorizers is relentlessly bleak. People are set up for success only to fail, both in their professional and personal lives. The ones who do succeed after years of toil are left to ponder over the ones they stomped on, on their way to the…
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