Vive L'Amour

2025 Subscribers: This is NOT included in your Subscription. If you'd like to purchase it, you will need to login to view your special 50% off SRP pricing. This special limited edition slipcover (designed by Elizabeth Yoo) is limited to 1,000 units and is only available on our website and at select indie retailers. Absolutely no major retailers will be stocking them. Founded in 2002 as one of the first-ever subscription film services with its DVD-of-the-Month Film Club, Film Movement is now a North American distributor of award-winning independent and foreign films based in New York City. In 2015, Film Movement launched the reissue label Film Movement Classics featuring new restorations released theatrically as well as on home video, with an emphasis on films by auteur directors such as Eric Rohmer, Peter Greenaway and Takeshi Kitano. The sophomore feature from Tsai Ming-liang (REBELS OF THE NEON GOD; GOODBYE, DRAGON INN) finds the acclaimed master of Taiwan's Second New Wave demonstrating a confident new cinematic voice. VIVE L'AMOUR follows three characters unknowingly sharing a supposedly empty Taipei apartment. The beautiful realtor May Lin (Yang Kuei-mei) brings her lover Ah-jung (Chen Chao-jung) to a vacant unit she has on the market, unaware that it is secretly being occupied by the suicidal funeral salesman Hsiao-kang (Lee Kang-sheng). The three cross paths in a series of precisely staged, tragicomic erotic encounters, but despite their physical proximity, they find themselves no closer to a personal connection. Featuring an intoxicating mix of Antonioni-esque longing and surprising deadpan humor, VIVE L'AMOUR catapulted Tsai to the top of the international filmmaking world and earned him the prestigious Golden Lion at the 1994 Venice International Film Festival. directed by: Tsai-ming Liang starring: Chao-jung Chen, Kang-sheng Lee, Kuei-Mei Yang 1994 / 118 min / 1.85:1 / Mandarin DTS-HD MA 1.0 Additional info: Region A Blu-ray Tsai Ming-liang on Vive L’Amour featurette 16-page booklet with a new essay by film critic Nick Pinkerton English subtitles