Dir.: Wi Ding Ho; Cast: JC Lin, Moon Lee, Po Hung Lin, Jie-Fei Huang, Pipi Jao, Cheng Ko, Annie Chen; Taiwan 2021, 127 min.
Taiwanese director/co-writer Wi Ding Ho is clearly disturbed by the youth of modern day Taipei judging by his nihilistic thriller Terrorizers playing at this year’s Toronto Film Festival.
Not to be confused with Edward Yang’s Taiwanese masterpiece The Terrorizers from 1986, there are clearly parallels to be drawn in the melancholy bleakness of the settings. But Wi Ding’s version deals with the VR world, now infringing what is called reality.
After six gruelling years in the kitchens washing dishes Xiao Zhang (Lin) returns to Taipeh, now a qualified chef on an ocean cruiser, hopes to open his own luxury restaurant with an uncle. Then up pops his old flame Yu Fang (Lee), now an actress in rehearsal for The Seagull, and soon they’re talking about moving in together. Yu has some doubts, she’s had a trail of doomed relationships that started when her mother left when she was a little girl, and an affair with a porn star called Monica (Chen), leaving her in the lurch. Family-wise her political father has just married his pregnant secretary and is on the verge of moving to another city, so Yu, once again, is alone.
In downtown Taipei Yu shares her apartment with Ming Liang (Hung Lin), the son of a politician, and her father’s financial backer. Liang and Yu are not on speaking terms but the psychotic Ming is somehow convinced that they’re an item. But worse is to follow: Ming has filmed Monica making love to her, and now wants to kill Yu for “deserting” him.
In spiteful act of revenge, Ming attacks Yu with a machete, Xiao narrowly saving her life. And Ming’s nasty side surfaces again when he gives the police the video showing the two women in bed together, claiming his attack was motivated by Yu’s betrayal of him.
All this dystopian darkness reveals Taipei to be a toxic male environment that seems to be particularly down on women: Yu’s father now forcing her to leave town, afraid that her staying in Taipei will harm his career. It’s ironic that a monster like Ming can sway public opinion to be on his side, denouncing the two women as perpetrators, and getting away with it, when we are all made aware of his monstrous nature, possibly inculcated by his abusive alcoholic mother, a ‘masseuse’ who regularly gives her son a ‘full service’ – fortunately off screen. But Ming is not the only villain of the piece: teenagers Kiki and Billy also prey upon randomly chosen strangers to get their kicks.
DoP Jean Louis Vialand shows the VR world for what it is: a fake construct where humans create substitutes of themselves and, in the process, become dependent on the media circus generated. Ming is the ultimate voyeur and ‘director’ of his sick universe. Chopin’s mournful Nocturne in e-flat accompanies this soulless descent into Hell.AS
TORONTO FILM FESTIVAL 2021