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,
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 »
Taipei. A voice off-camera looks back ten years to 2000, when Vicky was in an on-again off-again relationship with Hao-Hao. She's young, lovely, and aimless. He's a slacker. Cigarettes and ... See full summary »
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 »
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 »
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 »
Two-bit gangster Gao, his hotheaded side-kick Flathead and Flathead's permanently high-as-a-weatherballoon girlfriend are three young adults in arrested development, wandering from one ill-conceived moneymaking scheme to the next.
For the most part, Goodbye, South, Goodbye isn't so much built up out of scenes, but out of moments, intangible, fleeting, elusive, filmed by cinematographer Lee Ping-bing in sun-drenched exteriors and colour-filtered interiors. As a portrayal of urban alienation, it seems heavily influenced, thematically as well as visually, by the films of Wong Kar-wai. Hou still films in long takes, but the restraint he imposed on himself in his historical films flies out the window: elaborate tracking shots, hand-held cameras, near abstract extreme close-ups of tiny details, at times Goodbye, South, Goodbye turns into a radical formal experiment.
Some might complain that the movie never develops anything and doesn't go anywhere, but that's the point: neither do the characters.
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