New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
Derek Malcolm's rating
Reader rating
Dir: Tsai Ming-Liang.
Cast: Chen Shiang-Chyi, Lee Kang-Sheng, Norman Atun
Description: In modern day Kuala Lumpur, Rawang discovers Chinese stranger Hsiao-kang in the middle of the road, badly beaten and left for dead. Rawang nurses the injured man back to health, developing an intense relationship with his stricken ward. Meanwhile, waitress Chyi agrees to nurse the comatose son of her boss. When she meets the enigmatic Hsiao-kang, Chyi is inexorably drawn to him, creating friction with Rawang.
Country: TAI/FR/AUS. 2006. 118mins
The Wayward Cloud
NC, 112 mins
**
It's unusual for two films from the same director to be shown in the same week. But Taiwanese filmmaker Tsai Ming-liang is an astonishing talent and the current retrospective of his work at the BFI Southbank is essential viewing.
That said, The Wayward Cloud is not one of his best. Lee Kang-Sheng, Tsai's muse, shoots skin flicks with Japanese porn star Sumumo Yozukura, while Mandarin pop songs from Tsai's youth punctuate the scenes (one of which includes a surprising use for a watermelon).
I Don't Want to Sleep Alone, however, is extraordinary. Shot in Tsai's native Kuala Lumpur, it has Lee Kang-Sheng in two parts, as a foreign worker lying comatose in bed, and a Chinese drifter attacked by hustlers and nursed back to health by another worker (Norman Bin Atun).
Shot largely in a half-finished multi-story building site with long, often static takes in deep focus, the film is a memorable study of loneliness and dislocation. It may be slow as a snail, but it leaves a trail.
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