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"Condensed and intimate, Cruisy, Sleepy, Melancholy offers a systematic and insightful method to approach the queerness of Tsai Ming-liang's cinema, presenting a renewed understanding of queerness and queering in relation to the cinema as a medium and to queer politics and power relations that are specific to East and Southeast Asian cinemas"—Victor Fan, author of Cinema Illuminating Reality: Media Philosophy through Buddhism
 

"Cruisy, Sleepy, Melancholy is an elucidating work... Apart from that it sheds new light on one of Taiwan’s best-known filmmakers, it lays out a new way of interpreting Tsai’s works that draws on history, the urban fabric, affect, while opening the way for creative readings of Tsai. The book adds to and also builds on our understanding of Tsai, while also pushing beyond, and being more than that."—Brian Hioe, No Man Is an Island

 

"In Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang, Nicholas de Villiers illuminates Tsai’s complicated and opaque filmography by unpacking the complex intersectional pieces of the director’s identity and thematic output."—Film Quarterly

 

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