It seems like most everyone else reviewing this film missed the point entirely. If the film seems dead like the dummy, then why do you think the dummy was in the film in the first place? The characters are emotionally dead, floating down the river (of life?) like the dummy. Everything means something. Tsai Ming-Liang is not interested in how crazy he can make the camera move. He is one of the few directors I have seen whose films are a reaction AGAINST action, and by action I mean the Tarantino/Rodriguez-style. Which is not to say I don't admire those directors. Ming-Liang's films just hold so much SUBTLETY. The long shots and little camera movement force the viewer not to merely watch but to participate. Why is the camera set up this way? What am I watching? Why am I watching it? In other words, he forces the viewer to make the associations normally presented surface-level to the viewer of most other films. Apparently Wong Kar-Wai is supposed to be the new Godard. But Godard was always more into filming "essays" and filming in such a way that was supposedly not "allowed." So I believe Ming-Liang's films are much closer to Godard's style in that they are reactions against the current norm. He is the son of Ozu and Antonioni, with a complete aesthetic, technical, and emotional motivation behind his style. Ming-Liang is one of the most slept on directors working today. If you have a true love for cinema, not just Kevin Smith, Tarantino, and David Lynch, if you can appreciate a thin line between comedy and drama, if you can allow yourself to be sculpted into a new form of viewing cinema, just as the directors of the Nouvelle Vague once did, then... you get the idea.