Nie yin niang (The Assassin, 2015)

Hou Hsiao-Hsien makes slow films. I’m still fairly certain that the most walk-outs I’ve ever experienced from a film screening was when I went to see his magisterial Flowers of Shanghai (1998) when it screened for the first time at my local film festival (about half the audience left, and that’s a festival crowd). He returns to a Chinese period setting with his latest film (this time it’s the 8th century Tang Dynasty), so I’m not surprised to hear people criticise it for a certain coolness to its narrative exposition. For my own part, the period setting strikes me in the same way as, say, Shakespeare plays do: I’m not always exactly sure the historical importance of each of the characters, but I get the gist of what’s going on. Shu Qi plays the titular figure of Nie Yinniang, who is instructed by the nun who raised her to assassinate a corrupt government minister, Tian Ji’an (Chang Chen), but she finds it difficult to complete the mission when it transpires he is a cousin and former betrothed of hers. These are the broad brush strokes, but Hou fills in the rest with his cinematographer Mark Lee Ping Bin, using a gorgeous colour palette and elaborate costumes. Yinniang is often filmed through veils and obstructed by trees in outdoor settings, lurking in the background as Tian and his wife (Yun Zhou) hold court. I confess I probably need to see this film again to properly appreciate its artistry, but on a first viewing it certainly doesn’t disappoint. Unless, that is, one goes in hoping for a more action-packed genre-inflected wuxia.


NEW RELEASE FILM REVIEW
Director Hou Hsiao-Hsien | Writers Hou Hsiao-Hsien, Chu Tien-wen, Hsieh Hai-Meng and Zhong Acheng | Cinematographer Mark Lee Ping Bin | Starring Shu Qi, Chen Chang, Yun Zhou | Length 105 minutes || Seen at ICA, London, Tuesday 26 January 2016

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Tongnian wangshi (The Time to Live and the Time to Die, 1985)

The BFI have been doing sterling work this past month putting on a retrospective of the works of Taiwanese director Hou Hsiao-hsien, so I took a chance to see this key early film of his. It bears many of the hallmarks of his mature directorial work, particularly his great masterpiece A City of Sadness (1989). Both films deal with the tumultuous political events affecting China’s relationship to Taiwan during the mid-20th century, refracting it through one family, though this earlier film is perhaps more attentive to the domestic drama. Undoubtedly there’s plenty happening behind the scenes, though its political commentary is more subtly done. It’s primarily a coming of age story dealing with Ah-ha (or Ah-hsiao, a stand-in for the filmmaker, played by Yu An-shun as he gets older), though the most dynamic presence within the family is the grandmother (Tang Ju-yun). She is convinced the family will be returning soon to the mainland, as evoked by the cheap wicker furniture the family have for their home, as they had always assumed their relocation would be temporary. It spans a couple of decades, as family members grow older and die, and deals in an almost deceptively calm way with the passage of time and of youth, as Ah-ha moves from studious child to rebellious teen.


RETROSPECTIVE FILM REVIEW: Hou Hsiao-hsien
Director Hou Hsiao-hsien | Writers Chu Tien-wen and Hou Hsiao-hsien | Cinematographer Mark Lee Ping-bin | Starring Yu An-shun, Tang Ju-yun | Length 138 minutes || Seen at BFI Southbank (NFT2), London, Friday 18 September 2015