Killer Girl, Odyssee III 1990
"Experimental, Taïwanese, Short"
Killer Girl, Odyssee III (1990), a ten-minute Taiwanese experimental short from director Wang Jun-jieh, captures a moment of artistic paralysis set against the seismic collapse of the Berlin Wall.
Director: Wang Jun-jieh
Frequently Asked Questions
What is Killer Girl, Odyssee III (1990) about?
This ten-minute experimental short delves into director Wang Jun-jieh's personal crisis during the fall of the Berlin Wall in 1989. The film explores the tension between political upheaval and artistic paralysis, questioning the role of art amid collapsing ideologies.
Who directed Killer Girl, Odyssee III?
Killer Girl, Odyssee III was directed by Wang Jun-jieh, a Taiwanese filmmaker whose work during this period reflects a deep engagement with political and aesthetic turmoil.
Who stars in Killer Girl, Odyssee III?
Cast details for Killer Girl, Odyssee III are not listed.
Is Killer Girl, Odyssee III (1990) worth watching?
As an unrated experimental short, Killer Girl, Odyssee III offers a fascinating glimpse into a pivotal moment in Taiwanese cinema and a director's creative struggle. Its obscure status may appeal to fans of avant-garde and politically charged films.
How long is Killer Girl, Odyssee III?
Killer Girl, Odyssee III has a runtime of 10 minutes.
About Killer Girl, Odyssee III (1990) — Experimental Short from Wang Jun-jieh
Killer Girl, Odyssee III (1990), a ten-minute Taiwanese experimental short from director Wang Jun-jieh, captures a moment of artistic paralysis set against the seismic collapse of the Berlin Wall. The film reflects Wang's personal crisis during his studies in Berlin in 1989, as global political upheaval collided with profound doubts about art's purpose and power. The short's brooding atmosphere mirrors the tension between ideological collapse and creative stagnation, weaving themes of power, aesthetics, and market forces into a cryptic visual narrative.
While the cast remains uncredited, the film's raw emotional intensity and conceptual daring speak volumes about its director's state of mind during a period of global transformation. This obscure yet evocative work exists at the intersection of politics and art, making it a compelling footnote in Taiwanese experimental cinema and a haunting artifact of its time.