Robinson′s Crusoe depicts the deep emptiness that a man living in Taipei experiences. The director pays keen attention to the disrupted city life like his senior directors Tsai Ming-liang or Edward Yang in the Taiwanese new wave circle do. But at the same time, he never forgets to deliver his theme in a more popular style. It is a tale of a wealthy real-estate broker, Robinson, who is eager to buy Crusoe island off a real estate website, What′s interesting in this film is that the reallife of Robinson, who obsessively clings to virtual reality, is close to nothing. His family′s lives gradually disappear and his relationship with a girlfriend creaks. His business hits a snag, too. As the situation gets worse, Robinson becomes more obsessed with the idea of leaving for Crusoe Island in cyberspace. Like characters in Michelangelo Antonioni′s films, those depicted here aimlessly wander due to their loss of lifetime goals. They are burdened with unbearable and extreme solitude and boredom. What makes Robinson′s Crusoe different form other modernist films is the depth of instability of the character′s mind. The more the film delves into the characters′ minds, the more it affects the minds of viewers. LinCheng-sheng′s talent is to pull out impressive emotional streams from normal situations with no remarkable events. The best part of this film is an extended scene of dialogue that Robinson and his female co-worker have on their stroll, which occupies a quarter of the whole film. (Kim Young-jin)