Les Rebelles du dieu néon

One day, while travelling in his father's taxi for once, he notices a young man on a motor cycle. The latter, annoyed by his father's hooting his horn, breaks the side-mirror on the car. Kang-Sheng comes across him some time later and follows him. 

"Between masturbation and amulet, autism and trance, drunkenness and solitude, Tsai accompanies his two-faced hero without judging him. His poetic step-by-step journey is an authentic work in progress, whose dynamic is not initially clear, precisely because it invents itself progressively. His film has the effect of a live plunge into the confusion of an adolescent brain: impossible, by the light of a scene, to predict the next one, and this unpredictability has the effect of an act of faith in film. Not a process, a procession rather. Sensitive, sensual… and magnificent."  
Olivier Séguret, Libération, March 1998 

Tsai Ming-Liang, Rebels of the Neon God. Taiwan, 1992, 90 min, DCP, colour, original version with French subtitles 
With Lee Kang-Sheng, Chen Chao-Jung, Jen Chang-Bin 

Preceded by: 
Tsai Ming-Liang, The Skywalk Is Gone (Taiwan, 2002, 23 min, DCP, colour, original version with French subtitles) 
With Lee Kang-Sheng, Chen Shiang-Chyi, Lu Yi-Ching  

Shiang-Chyi is wandering about in front of Taipei train station. A woman pulling a suitcase suddenly crosses the large avenue. A policeman stops them and asks them for their papers. Shiang-Chyi obeys. But the woman refuses, arguing that she usually crosses on the skywalk! The skywalk has disappeared… 

"As if, with this new turning point in the life of his characters (his Antoine Doinel will make porn films), Tsai were predicting his own future: perhaps video and pornographic, DV and sexual (he claims to be intrigued by video), somewhat like Kiarostami at the end of Taste of Cherry, announcing the future upheavals in his work. While the final shot evokes an earthly transcendence (a blue sky dotted with clouds), Tsai affirms that sex scenes in his next film will be more radical."  
Jean-Sébastien Chauvin, Cahiers du cinéma, n° 573, November 2002