Hou Hsiao-hsien is a name that resonates deeply within the realm of world cinema. A Taiwanese filmmaker of international renown, Hou has been weaving intricate tales of love, loss, and longing for over four decades. His films are characterized by their poetic nuance, meticulous attention to detail, and a profound understanding of the human condition. Among his extensive filmography, one series stands out as a testament to his innovative storytelling and cinematic craftsmanship: "Three Times."
The first segment, titled A Time for Love , is set in 1966. We are in a billiard hall in Kaohsiung. Chang Chen plays Chen, a conscript on leave. Shu Qi plays May, a young woman who works at the pool hall.
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 this first "time," Hou shows us that love in the 1960s was a whispered secret—visible only in sideways glances and the lonely sound of a train passing at night.
Hou Hsiao-hsien is a name that resonates deeply within the realm of world cinema. A Taiwanese filmmaker of international renown, Hou has been weaving intricate tales of love, loss, and longing for over four decades. His films are characterized by their poetic nuance, meticulous attention to detail, and a profound understanding of the human condition. Among his extensive filmography, one series stands out as a testament to his innovative storytelling and cinematic craftsmanship: "Three Times."
The first segment, titled A Time for Love , is set in 1966. We are in a billiard hall in Kaohsiung. Chang Chen plays Chen, a conscript on leave. Shu Qi plays May, a young woman who works at the pool hall.
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 this first "time," Hou shows us that love in the 1960s was a whispered secret—visible only in sideways glances and the lonely sound of a train passing at night.