I’ve struggled even trying to come up with an opener when I wanted to talk about Tsai Ming-liang’s Goodbye, Dragon Inn because the subject matter is something that had always spoken great volumes to me. But among those was a question that I’ve been asking many of my own peers who are also into film, where does everything start? Our own love of cinema has to start somewhere, so to recollect a memory of where one starts is a key to understanding the impact of Goodbye, Dragon Inn. We have that experience, we want to share it with another, but others have their perceptions of what films mean to them. For how much we love films, there’s another degree to where we wonder what they mean to someone else based on how others see them. But what happens if they end up going away from us? This melancholy is a feeling that Goodbye, Dragon Inn captures beautifully in what I believe to be Tsai Ming-liang’s best film as of yet.