Looking for movies, shows, games, or books similar to Rebels of the Neon God? Check out these recommendations on mosaic.
Kang lives alone in a big house, Non in a small apartment in town. They meet, and then part, their days flowing on as before.
Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.
Hsiao-Kang, now working as an adult movie actor, meets Shiang-chyi once again. Meanwhile, the city of Taipei faces a water shortage that makes the sales of watermelons skyrocket.
Three lonely young denizens of Taipei unknowingly share an apartment: May, a real estate agent who uses it for her sexual affairs; Ah-jung, her current lover; and Hsiao-kang, who's stolen the key and uses the apartment as a retreat.
On a dark, wet night in Taipei City, a cavernous old picture palace is about to close its doors forever. A meager audience, the remaining few staff, and perhaps even a ghost or two, watch King Hu’s wuxia classic "Dragon Inn", each haunted by memories and desires evoked by cinema itself.
A young woman wandering around meets a young man going to a casting call for a pornographic film.
In the wee hours of winter a night train travels through a sleepless city. This is a panorama of a Buddhist monk’s journey through Tokyo at night. He also stops at a bath-house in a capsule hotel, where he makes a brief encounter.
He wanders around the Comb of the Wind, where the sea rises and breaks against the shore. Along the way, he passes an old Basque farmhouse, a silent man, a woman drinking water, a woman smoking, punks gathered in a rock bar, and people in the ancient city at sunset. The Diamond Sutra speaks of all living beings in these words: "Specks of dust are not specks of dust; therefore, they are called specks of dust".
Tsai Ming-Liang, the artisan of cinematography approaches virtual reality, pushing the boundaries of VR film. The Deserted stripped away traditional film techniques and is presented in 360 degrees, like a theatre. The viewer is placed in the scene and is allowed to look freely at the construction of the environment. And immersed in the handcraft of the scenes.
A forbidden exorcism is livestreamed in Indonesia, awakening the legendary female spirit Kuntilanak. What begins as an online spectacle quickly turns deadly. In Taiwan, Mila watches the ritual—and becomes the curse’s first victim. Soon, mysterious deaths and violent possessions follow. When Yulan collapses and is found to have lost part of her soul, it becomes clear that this is not an isolated incident, but a transnational curse. Seeking answers, Mila’s son returns her ashes to Indonesia, hoping to uncover the truth behind her death. Instead, he steps into a nightmare rooted in ancient folklore and unresolved hatred. As supernatural violence escalates, the group realizes that once Kuntilanak is summoned, the curse will not stop—until it claims everything in its path.