A-yuan and A-yun are both from the small mining town of Jio-fen. In the city, A-yuan is an apprentice by day and goes to night school, and A-yun works as a helper at a tailors. Everyone ... See full summary »
When a young brother and sister spend a pivotal summer away from home, they are changed. Ting-Ting and Tung-Tung (Wang Qiguang) are children of the city, but when their mother is struck ill... See full summary »
In the first half of this century, young Li Tienlu joines a travelling puppet theatre and subsequently makes a career as one of Taiwan's leading puppeteers. During World War II the Japanese... See full summary »
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 ... See full summary »
Intended as the concluding film in the trilogy on the modern history of Taiwan began with Beiqing Chengshi (1989), this film reveals the story through three levels: a film within a film as ... See full summary »
In Shanghai in the 1880s there are four elegant brothels (flower houses): each has an auntie (called madam), a courtesan in her prime, older servants, and maturing girls in training. The ... See full summary »
Tony Chiu Wai Leung,
Da-Nian is a young man from Taipei. He goes to a remote village and works as a substitute teacher. He and Su-Yun, another teacher at the school, fall in love. There are several students in ... See full summary »
This depiction of childhood and adolescence draws heavily from the filmmaker's own boyhood. Like many of their compatriots, Hou's family moved from the mainland to Taiwan in 1948 and was unable ever to return. The film focuses on the widening generation gap in a family cut off from its cultural heritage. Written by
International Film Circuit <email@example.com>
A great introduction to the world's greatest director
I recommend A TIME TO LIVE AND A TIME TO DIE as a great introduction to the films of Hou Hsiao Hsien, who I consider the greatest director working today. Like most of his films, this one is about the telling of history, the effort to recreate the memories of the past, in this case his childhood memories growing up in rural Taiwan. His family has escaped Communist China but live as if they will make their return someday. That someday never comes, the family grows old, and members die one by one. These tragedies (filmed with heartbreaking solemnity) serve as punctuation marks for the film's narrative, which isn't so much concerned with plot details as it is with capturing the sense of what it was like to live at that time, as the kids develop their own sense of belonging, in a country they have adpoted just as it has adopted them. His method of editing and storytelling is something close to revolutionary, and he would refine it in his later films. His ability to set scene after impeccable scene and let the ideas ferment over their totality is unparalleled. This is perhaps his most accessible film, full of heart and pathos. It may seem slowgoing by Hollywood standards, but if you have the willingness to let it wash over you, you will be transported, both mentally and emotionally.
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