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At the 16th edition of Five Flavors, as last year, there is a system of booking seats at cinema screenings for accreditation and pass holders. It is important to us that we take care not to overcrowd the rooms and avoid queues at the entrance.
Only a reservation guarantees you a seat at a screening!
The reservation system is very simple and is based on similar principles as buying tickets for individual screenings - just login to your account, visit the page of the selected film and click "book". Detailed information can be found below.
Please make reservations only for the screenings you wish to attend. Reservations can be cancelled, even at the last minute - please remember this and always cancel your reservation if you cancel your screening - this will allow other viewers to use the available space.
Reservations will be possible from Tuesday, 15 November from 12:00 p.m. for all the festival's films.
Reservation of seats
for pass and accreditation holders
Tuesday, November 15, 12:00 pm
If you decide to attend a screening at the last minute or for any other reason you do not book in advance, and there are seats available in the auditorium, your booking will be made "automatically" at the entrance to the auditorium after scanning your pass.
For most of the screenings there will be free seats before the show itself. However, please pay special attention to the screenings of Edward Yang's works and the screenings of those films that we only show in the cinema - we expect the highest attendance at these screenings.
This year, you will also be able to use an electronic pass by presenting it to ticket takers on your phone screen.
The city is a space of division and transgression, of constant movement filled with chance meetings and head-on collisions. The simultaneity of events blurs the line between chance and destiny. A young photographer takes interest in a girl he photographed as she was running away from her apartment during a police raid. A writer is struggling with a creative crisis and the routine of her marriage. Her husband works in a lab and incessantly hopes for a promotion, convinced that his main duty in life is to provide for his wife. One day, an unexpected phone prank changes their lives forever.
In Terrorizers, Edward Yang shows his passion for intricate narrative constructs that draw the viewers deep into the world they create. He plays with props – a phone, a camera, a gun – and turns them into the catalysts of chaos. Theoretician Fredric Jameson called Terrorizers the model postmodern film because of its polyphonic narration and the depiction of urban fragmentation. Even though much has changed in the three decades since its premiere, the movie still conveys the essence of the everyday reality of a modern metropolis.
Born in 1947 in Shanghai. His father came from a southern province Guangdong, his mother from Hebei in the north of China. Born as the children of impoverished intelligentsia, they both worked as office clerks in the nationalist government structures. Two years after Yang was born, the communist party took over the reins in China, and the family moved to Taipei. Despite his fascination with literature and film, Yang chose to study engineering. After graduating, he moved to the US to continue his education in digital design. He spent seven years working as a coder in Seattle and then decided to return to Taiwan to pursue a career in film. In 1983, after creating his short film Desires, a part of an anthology film In Our Time, the founding oeuvre of the Taiwanese New Wave, Yang directed his almost three-hour-long debut That Day, on the Beach. Over the three decades of his career, Yang made a wide variety of films. His third feature, a postmodern tragicomedy Terrorizers, was a big box office success and a hit among the critics, bringing Yang the 1987 Silver Leopard at the festival in Locarno, and the title of the Best Film at the Golden Horse Film Awards. Yang’s later films – the award-winning, epic reconstruction of Taipei of the 1960s, A Brighter Summer Day, the comedy A Confucian Confusion, and the gangster film Mahjong – turned out to be box office flops. Yang’s last film, the Japanese co-production A One, and a Two, brought him the Best Director award at the 2000 Cannes Film Festival. After the Cannes win, Yang started working on several different projects – the animation The Wind, a website with auteur comic books Miluku.com, and the script for the adaptation of Lust, Caution, but did not finish any of them. Yang died of colon cancer in California in 2007.
1982 W naszym czasie / Guangyin de gushi / In Our Time (segment Oczekiwanie / Zhiwang / Expectation)
1983 Tego dnia na plaży / Haitan de yi tian / That Day, on the Beach
1985 Historia z Tajpej / Qingmei zhuma / Taipei Story
1986 Terroryści / Kongbu fenzi / Terrorizers
1991 Jasny dzień lata / Gulingjie shaonian sharen shijian / A Brighter Summer Day
1994 Konfucjańska konsternacja / Duli shidai / A Confucian Confusion
2000 I raz, i dwa / Yi Yi / A One and a Two