Skip to Content

Important Update

Masks are not required, though they are encouraged. While we are no longer checking for proof of vaccination, we do, of course, strongly encourage everyone to be vaccinated. Click here for more information.

Slideshow

THE TERRORIZERS
恐怖份子

Tuesday, November 22
6:10

Thursday, November 24
7:20

Buy Tickets
$9.00 Member$15.00 RegularBecome a Member

Taiwan, 1986
Directed by Edward Yang
Written by Hsiao Yeh, Edward Yang
Starring Cora Miao, Lee Li-chun
Approx. 110 min. DCP Courtesy Taiwan Film and Audiovisual Institute.


“Made hot on the heels of Yang’s TAIPEI STORY (1985), in a rare period of productivity, THE TERRORIZERS is an enigmatic, upsetting movie—troubling in ways you may have difficulty putting your finger on, nagging at you days later, like a sore spot that’s hard to reach. Its ensemble of disparate characters is united by their shared enervation, as though from a lingering sickness, and a vague ambiance of crisis hangs over the film from the earliest scenes: an anonymous body lying face-down in the street; the police shooting a gambling den to pieces in brisk, businesslike fashion. The editing is curt, elliptical, and at times Bressonian, while the camera generally keeps at a laconic distance, and along with embellishments like a sudden cut from an interior scene to a window washer clinging to the outside of the building or the recurring image of a huge, spherical water tank that seems to belong on a Martian colony, this all combines to keep a viewer ever-so-slightly on-edge. A manga fan and practiced cartoonist, Yang has an eye for framings that throb with implacable loss, and he lingers on scenes of departure, on footsteps sounding in a hospital corridor, or a woman’s view from her apartment window as her lover walks away after a violent quarrel scored to the conclusion of The Platters’ “Smoke Gets in Your Eyes,” a gorgeous scene in a movie full of them.” – Nick Pinkerton, Artforum

Reviews

“The bombs that we plant in each other are ticking away.”
– Edward Yang

“Yang keeps all of the balls in the air, resisting definitive answers and conjuring a
lean-in sense of intimate dread.”

– Michael Atkinson, The Village Voice
 

Film Forum