Hsiao-Hsien Hou

Quote:
A Complex Taiwan Tale Needs a Key
In a series of eloquent, dazzling and demanding films, the director Hou Hsiao-hsien has depicted the history of Taiwan through individuals with deeply moving life stories. The island itself — a Japanese colony before World War II, then controlled by the Nationalist Chinese with violent repression during the cold-war years — has come to seem his most treasured character. “City of Sadness,” shown at the New York Film festival in 1989, tells Taiwan’s story as a family saga. The poetic “Puppetmaster,” shown at the festival two years ago, layers Taiwan’s history with the biography of an aged puppet maker.Read More »

Nick Schager – Lessons of Darkness wrote:
As the new millennium dawns, Vicky (Qi Shu) balances separate love affairs with abusive, drug-smoking Hao-Hao (Chun-hao Tuan) and paternal petty gangster Jack (Jack Kao) in Hou Hsiao-Hsien’s exquisite Millennium Mambo. Narrated (in hindsight) by Vicky from the year 2011, the film’s splintered, flashback-heavy narrative nominally concerns Vicky’s tumultuous two romances, though the storyline is – even more than usual for Hou – largely inconsequential. Supposedly part of a trilogy about Taiwanese youth culture, Millennium Mambo is similar to Hou’s superior Goodbye South, Goodbye in that both chart small-timers’ aimless search for money, love, or, at least, some fleeting feeling of genuine human connection.Read More »

Tony Rayns in Time Out Film Guide wrote:
When Office Kitano commissioned Shinozaki to record Kitano’s work on Kikujiro from the start of shooting to the screening of the ‘A’ copy, they knew he wouldn’t do a standard ‘Making of’. Since Kitano shot the film more or less in sequence and improvised a lot, Shinozaki is able to turn his documentary into an authentic ‘bootleg’: an anthology of out-takes, mistakes and deleted scenes which adds up to a ‘parallel’ version of the film itself. It’s also a very candid portrait of Kitano in his self-deprecatory prime – especially when nearly lost for words during a social chat with Hou Xiaoxian. One caveat: Kitano himself sings the song under the end credits.Read More »

Three vignettes from three different directors that tell stories of ordinary people during Taiwan’s Cold War period.Read More »

Shochiku Studio of Japan commissioned several directors to create films reflecting on the themes of Ozu Yasujiro on the centenary of the director’s birth. Here we find Inoue Yoko, an apparently single young woman who is pregnant, searching for a small cafe that was often visited by a Taiwanese composer whose life she is researching. She herself is back from Taiwan and receiving help from a book store clerk, but she first has to contend with the her own reality which includes her parents.Read More »

Synopsis:
Ah-Ching and his friends have just finished school in their island fishing village, and now spend most of their time drinking and fighting. Three of them decide to go to the port city of Kaohsiung to look for work. They find an apartment through relatives, and Ah-Ching is attracted to the girlfriend of a neighbor. There they face the harsh realities of the big city.Read More »

One of Hong Kong’s most influential filmmakers, Ann Hui, becomes a “star” for the first time in Man Lim-chung’s directorial debut. A forerunner of the New Wave, Hui’s tumultuous, forty-year career is an unequivocal testimony to her unyielding dedication to filmmaking, and her expedition into the metamorphic city. This biopic probes into the acclaimed director’s idiosyncratic world, where we witness her rashness and goofiness, as well as her humanistic concerns for the everyday nobodies which make her films so moving.Read More »

The semi-autobiographical film on director Hou Hsiao-Hsien’s childhood and adolescence, when he was growing up in Taiwan, living through the deaths of his father, mother and grandmother.Read More »

Flight of the Red Balloon (Le Voyage du Ballon Rouge), first part in a new series of films produced by Musée d’Orsay, tells the story of a French family as seen through the eyes of a Chinese student. The film was shot in August and September 2006 on location in Paris. This is Hou Hsiao-Hsien’s first western film. It is based on the classic French short The Red Balloon directed by Albert Lamorisse. Flight of the Red Balloon is one of those movies where nothing much happens. It’s a simple, relatively peaceful film, notable in part because director Hou Hsao-Hsien is shooting outside Asia for the first time. Hou’s starting point–dictated by Paris’s Musee d’Orsay, which commissioned the film–is La Ballon Rouge, the 1956 Albert Lamorisse film about a little boy and his companion in the streets of Paris, a floating red balloon.Read More »