The Wayward Cloud (2005)หนังอาร์ หนังอีโรติค 18+ ไต้หวัน
Cum is the new water in Tsai Ming-liang's The Wayward Cloud, wherein the immense Taiwanese executive exchanges pensive philosophizing for balls-out explanatory twists. It's not an unforeseen change of pace (in numerous truly clear ways, Tsai has been moving to this film his whole vocation), yet it is an uneasy one (from an auteurist viewpoint, that English title thuddingly tells all). Basically, Tsai utilizes the vernacular of erotica against itself: each picture is unfilled, self-evident, acted like dried out and parched as the dry season stricken Taipei that serves as the film's setting. Tsai has a point to make and his on-screen characters (old standbys Lee Kang-sheng and Chen Shiang-chyi, reenacting a considerably more unequivocal form of their What Time Would it say it is There? pas de deux) twist themselves like spit-or-swallow inflatable girlfriends to demonstrate it. Tsai's funny feeling of distance, elevated by a few revolting musical intermissions, makes for uneasy partners with his politically charged and baldly evident proposal: that Taiwan itself is a wayward cloud, caught in the middle of different and sundry skillet Asian diversions and impacts. In the event that that peruses as instructive as it felt to compose then we're one stage closer to getting a handle on the film's very hazardous nature, not that Tsai makes a lot of an endeavor to shroud it. One need just take a gander at the scandalous last sex grouping (which, notwithstanding Lee and Chen, characteristics a senseless Japanese porn star and a Chinese air transport stewardess set pattern hypothetical signposts both—set impeccably on inverse sides of a separating divider) to experience the robustness and conviction of Tsai's plan. The Wayward Cloud incorporates some of Tsai's most risible work (never thought I'd feel so humiliated for Chiang Kai-shek) close by some of his best (the highlight: Lu Yi-ching's blazes and-insects musical number, launched by a gooey cum facial), yet in real life it all goes into disrepair, and I'm questionable, even after two viewings, if this is completely a terrible thing. For this continuing feeling of disarray alone (compare it to the waiting bewilderment of an especially multifaceted sexual experience), Tsai's most off-putting work is in any case deserving of serious and continuous though
The motion picture is around a young lady called Julie who is bamboozled in adoration. At last, to survive freely, on the planet, she turns to the world's most seasoned calling, and turns into a call young lady.
She then meets Mihir Shandilya is a multi-tycoon lone wolf, who at an exceptionally youthful age is a symbol of the new-age India. Mihir adores her for herself, yet does not think about her calling, and proposes to her openly. Julie, openly then admits about her character on a TV slot. Will Mihir acknowledge Julie? Will Mihir's family not protest such a girl - in law?