In the realm of Taiwanese New Wave cinema, one name stands out: Hou Hsiao Hsien. Three films, each a masterclass in storytelling, showcase the director's innovative spirit and poetic vision.
For the first time in the film, Hou uses handheld cameras, rapid cuts, and jump cuts. The world is neon-lit, chaotic, full of cell phones and motorcycles. There is no silence here—only the hum of karaoke bars, traffic, and electronic music. three times hou hsiao hsien
Set in a breezy Kaohsiung pool hall, this segment follows a young soldier (Chang Chen) searching for a hostess (Shu Qi). It is a nostalgic, autobiographical piece defined by the pop songs of the era, such as "Smoke Gets in Your Eyes," and the innocent, tactile thrill of holding hands. In the realm of Taiwanese New Wave cinema,
Why the shift? Because . In the 1960s, love was delayed. In 1911, love was forbidden. But in 2005, love is lost . We have every technology to connect, yet we cannot touch each other’s souls. The world is neon-lit, chaotic, full of cell