Hou Hsiao-hsien

Hou Hsiao-hsien, a key figure of the Taiwanese New Wave, is celebrated for his richly textured films that reflect upon Taiwan’s complex identity against the backdrop of colonialism and modernisation. Renowned for his meditative and realist approach, his films often centre around ordinary people navigating their everyday lives; from the politically sensitive portrayal of the 228 Incident in A City of Sadness to The Assassin’s slow-paced martial arts narrative, Hou’s filmography showcases his mastery of weaving intimate human stories into broader historical and societal contexts.

Born in Guangdong, China, and later migrating to Taiwan, Hou’s early life significantly influenced his storytelling perspective. Initially working as a sales manager for a film distribution company, he transitioned to filmmaking with his debut feature, Cute Girl, in 1980. Collaborating frequently with screenwriter Chu T’ien-wen, cinematographer Mark Lee Ping-bing, and actors like Tony Leung Chiu-wai, Hou’s creative partnerships have lent continuity and coherence to his expansive body of work.

Hou’s films are characterised by long takes and minimal editing, which eschew typical Hollywood pacing and techniques. This deliberate, often static, approach invites viewers to fully immerse themselves in the depicted environment. These distant, observational shots capture the nuances of everyday realism, often featuring non-professional actors and focusing on the minutiae of daily life. This measured gaze transforms ordinary scenarios into compelling narrative segments, offering a thoughtful exploration of the human condition.

Evoking the Essence of Taiwan

In addition to his narrative style, Hou is also renowned for his engagement with Taiwan’s historical periods and events. His films provide a reflective lens on Taiwanese history, often weaving intricate social and political commentaries into his narratives. This elliptical storytelling, which requires audiences to actively engage in piecing together the plot, and his thematic explorations of time and memory further deepen the narrative complexities of his films.

Visually, Hou’s works are noted for their striking aesthetics. From meticulously designed sets to the thoughtful composition of each frame, his films possess an understated beauty. This visual craftsmanship complements his narrative style, as each meticulously composed frame becomes a canvas on which everyday stories unfold, transforming ordinary moments into cinematic art.

Hou’s impact extends far beyond Taiwanese cinema, with his influence seen in the works of directors globally, such as South Korean filmmaker Hong Sang-soo and Chinese director Jia Zhangke. His distinctive narrative style and nuanced exploration of Taiwan’s identity have significantly shaped Asian cinema and established him as a formidable figure in world cinema. This recognition extends to the international film festival circuit. Hou notably received the Golden Lion at the Venice Film Festival for A City of Sadness and the Best Director award at Cannes for The Assassin.

Hou Hsiao-hsien (1947 – -)

Calculated Films:

The Boys From Fengkuei (1983)
A Summer at Grandpa’s (1984)
The Time to Live and a Time to Die (1985)
Dust in the Wind (1986)
A City of Sadness (1989)
The Puppetmaster (1993)
Goodbye South, Goodbye (1996)
Flowers of Shanghai (1998)
Millennium Mambo (2001)
Cafe Lumiere (2003)
The Assasin (2015)

Similar Filmmakers

Stanley Kwan
Tran Anh Hung
Tsai Ming-liang
Wong Kar-wai
Yasujiro Ozu
Zhang Yimou

Hou Hsiao-hsien’s Top 10 Films Ranked

1. A City of Sadness (1989)

Genre: Period Drama, Political Drama

2. The Time to Live and the Time to Die (1985)

Genre: Coming-of-Age, Drama, Family Drama, Slice of Life, Period Drama

3. Dust in the Wind (1986)

Genre: Drama

4. Flowers of Shanghai (1998)

Genre: Period Drama

5. The Puppetmaster (1993)

Genre: Biographical

6. A Summer at Grandpa’s (1984)

Genre: Coming-of-Age, Drama, Slice of Life

7. Goodbye South, Goodbye (1996)

Genre: Crime, Drama

8. The Boys From Fengkuei (1983)

Genre: Coming-of-Age, Drama, Slice of Life

9. Millennium Mambo (2001)

Genre: Drama

10. Good Men, Good Women (1995)

Genre: Drama

Hou Hsiao-hsien: Themes and Style

Themes:

Nostalgia and Memory: Hou Hsiao-hsien frequently explores themes of nostalgia and the elusiveness of memory, particularly in relation to Taiwan’s history and identity, as seen in A City of Sadness, where personal recollections intersect with national events.
The Passage of Time: The impact of time on individuals and communities is a recurring subject. In The Puppetmaster, Hou reflects on the gradual changes in culture and tradition through the lens of a puppeteer’s life.
Displacement and Search for Belonging: His characters often find themselves in flux, caught between places or times, searching for a sense of belonging. Flight of the Red Balloon captures this sentiment through the eyes of a child and his caretaker in Paris.
Everyday Life: Hou’s films are deeply rooted in the rhythms of everyday life, emphasising the beauty and drama in ordinary moments, such as in Dust in the Wind, where the narrative unfolds in the daily lives of its young protagonists.
Family Dynamics: The complexity of family relationships is a central theme, with films like A Time to Live, A Time to Die drawing on Hou’s own experiences to explore the bonds and conflicts within a family.

Styles:

Minimalist Storytelling: Hou employs a minimalist narrative approach, often eschewing conventional plot structures for a more observational style, as exemplified in Café Lumière.
Long Takes and Static Shots: He is known for his use of long, uninterrupted takes and static shots that allow scenes to unfold in real-time, creating an immersive experience, as seen in Flowers of Shanghai.
Natural Lighting: Hou often utilises natural lighting to enhance the authenticity of his visual storytelling, lending a painterly quality to his films like The Assassin, where every frame is meticulously composed.
Real Locations: He has a preference for shooting on location, capturing the spirit of a place by integrating its sounds and sights into the narrative, creating an authentic backdrop for the characters in Millennium Mambo.
Elliptical Editing: His editing style often involves ellipses, where significant events occur off-screen, encouraging the audience to piece together the story, a technique used effectively in Goodbye South, Goodbye.

Directorial Signature:

Historical Context: Hou’s films are often set against a backdrop of historical events, which he uses to comment on the present. The interplay between the personal and the historical is a signature element, as in A City of Sadness.
Collaboration with Actors: He is known for his close and collaborative relationships with actors, particularly with Shu Qi and Tony Leung, allowing for improvised performances that add depth to his films, such as in The Assassin.
Non-Professional Actors: Similar to his contemporaries, Hou sometimes casts non-professional actors to achieve a greater sense of realism and spontaneity, as observed in Dust in the Wind.
Subtlety in Performance: He often directs actors to deliver underplayed, subtle performances, relying on small gestures and expressions to convey deep emotions, a technique that is central to the contemplative nature of his films like Three Times.
Innovative Sound Design: Hou uses sound in creative ways to enhance the narrative, often juxtaposing sounds from different sources or times, creating a rich auditory texture that complements the visual storytelling, as demonstrated in The Puppetmaster.

Hou Hsiao-hsien: The 48th Greatest Director