Xuanlin Tham

1 week ago | gq.com.tw | Xuanlin Tham

「科幻」這一龐大而奇妙的類型涵蓋了一些最偉大的故事，但是，是什麼造就了最優秀的科幻電影，相信每個人都有自己的答案，但我們大膽猜測，將偉大科幻片挑選出來非常簡單：無限的想象力、凝視宇宙（或怪獸、外星人、平行宇宙），從中汲取關於人類在地球上的意義的真理。所以，怎樣才能拍出一部好的科幻電影？我們相信要有星際想像力，且勇於揭開地球真相的那面！ 繼續閱讀 盤點 7 部「黑科技」電影與影集 《異星入境》 由艾米亞當斯（Amy Adams）主演，丹尼斯維倫紐瓦導演的《異星入境》（Arrival）被許多人認為是她職業生涯中最精彩的表演。劇情講述了語言學家路易絲班克斯（Louise Banks）被美國軍方邀請幫助他們開發一種與神秘抵達並盤旋在地球上空的 12 艘外星飛船溝通的方法。電影改編自特德蔣的短篇小說《你一生的故事》，《異星入境》是科幻電影中的柏拉圖式理想：對時間、語言以及非人類能教給我們的東西進行了無盡的深刻反思。 《駭客任務》...

2 weeks ago | letterboxd.com | Xuanlin Tham |Robert Daniels |Ella Kemp |La haine

Liberté, egalité, fraternité. Blue, white, and red. Saïd (Saïd Taghmaoui), Vinz (Vincent Cassel), Hubert (Hubert Koundé). What is the power of three? Three decades ago, La Haine exploded onto the world stage at the 1995 Cannes Film Festival, winning 27-year-old Matthieu Kassovitz the prize of Best Director and searing its name—two deceptively soft-sounding French syllables for what we would imagine being snarled, hurled, splintering and enraged, hatred—into the annals of film history.

2 months ago | anothermag.com | Xuanlin Tham |TextXuanlin Tham

Drawing examples from recent films like Babygirl, Passages and How to Have Sex, Xuanlin Tham makes a case for the enduring importance of the sex scene The sex scene is statistically disappearing from our screens, in parallel with the rise of increasingly commonplace anti-sex scene sentiment. This is a political phenomenon inextricable from our widespread immiseration and violence under late capitalism – one which illuminates the borders of what we are allowed to feel and experience today.

2 months ago | flipboard.com | Xuanlin Tham

The sex scene is statistically disappearing from our screens, in parallel with the rise of increasingly commonplace anti-sex scene sentiment. This is …

2 months ago | i-d.co | Douglas Greenwood |Xuanlin Tham

Be it Anora or Challengers, Babygirl or Nosferatu, it seems there’s nothing more offensive to the terminally online than the act of two (or three) people fucking on-screen. The sex scene has long been a key factor in narrative cinema, and while it’s gathered some vocal defenders and detractors online, to the writer Xuanlin Tham, the exhausted discourse has been misguided from both sides. On one hand, they found some dismissed these expressions of on-screen desire to be gratuitous and unnecessary.