The film explores time and facial expression. The camera does capture the landscape, but is microscopic in its capture of human expressions, even detailing emotions. Tsai Ming-Liang uses 13 faces to create his own genre that is neither documentary nor fiction. Tsai looked for inspiration in faces for two months before framing facial expressions, emphasizing that the face is both a tool and a landscape. Tsai goes beyond the simple phrase, “a face is one’s resume.” Faces represent lives, and just as words either tell or hide things, faces can expose the hidden meanings between silence and statements. Tsai captures not only expressions, but the revelation of the visible or invisible images hidden behind them. And here, the face quits being an exhibit of emotions. Tsai’s triumph is in the interview with his alter ego Lee Kang-sheng. Lee leaves behind the actor and becomes a man talking about his days as a student. By returning to his role as a man, not as an actor, Lee completes his acting. Music by Sakamoto compliments the music created by facial expressions. (Mun Gwan Gyu)