While it seems as if the current wave of conservatism, old-fashioned ideals and xenophobia has the upper hand at time, there is no denying the tremendous change the global village goes through. Reactionary thinking and the insistence of an image of the world, which probably never was that great as the speaker imagines it, are hopefully by-products of progress, one that has already redefined many parts of our daily lives. As our nations struggle or start to re-think their identity, we may observe the new openness of that concept, and hopefully be ready for it.
“Alifu, the Prince/ss” Screened at Five Flavours Asian Film Festival
Ultimately, this change and how we react to it may prove our worth as a society and as human beings. For Taiwanese director Wang Yu-lin, the moment he began contemplating on why two people of the same sex could fall in love, started in...
“Alifu, the Prince/ss” Screened at Five Flavours Asian Film Festival
Ultimately, this change and how we react to it may prove our worth as a society and as human beings. For Taiwanese director Wang Yu-lin, the moment he began contemplating on why two people of the same sex could fall in love, started in...
- 11/26/2021
- by Rouven Linnarz
- AsianMoviePulse
Written by Jamie Loh
Grieving is never easy, but what if you had to mourn someone you no longer know? “Little Big Women”, directed by Joseph Hsu, is a story of memory, loss, finding closure, and letting go. Inspired by his own family’s story—Hsu’s own grandmother had to mourn for her husband alongside his extramarital lover—the film is an extended version of his 2017 short film, “Guo Mie”.
On the day of her 70th birthday, renowned restaurant owner, Ms. Lin (Chen Shu-fang), receives news that her long-estranged husband, Chen Bochang (Lung Shao-Hua), has passed away in Taipei. As her family begins their preparations for the funeral, she insists on continuing with her celebrations. The dinner is attended by many relatives and her three daughters: Wanching (Hsieh Ying-Hsuan), a free-spirited professional dancer, Yu (Vivian Hsu), a plastic surgeon, and her youngest daughter, Jiajia (Sun Ke-Fang), who has taken over the restaurant.
Grieving is never easy, but what if you had to mourn someone you no longer know? “Little Big Women”, directed by Joseph Hsu, is a story of memory, loss, finding closure, and letting go. Inspired by his own family’s story—Hsu’s own grandmother had to mourn for her husband alongside his extramarital lover—the film is an extended version of his 2017 short film, “Guo Mie”.
On the day of her 70th birthday, renowned restaurant owner, Ms. Lin (Chen Shu-fang), receives news that her long-estranged husband, Chen Bochang (Lung Shao-Hua), has passed away in Taipei. As her family begins their preparations for the funeral, she insists on continuing with her celebrations. The dinner is attended by many relatives and her three daughters: Wanching (Hsieh Ying-Hsuan), a free-spirited professional dancer, Yu (Vivian Hsu), a plastic surgeon, and her youngest daughter, Jiajia (Sun Ke-Fang), who has taken over the restaurant.
- 10/30/2021
- by Guest Writer
- AsianMoviePulse
“Are you a boy or a girl?”
While it seems as if the current wave of conservatism, old-fashioned ideals and xenophobia has the upper hand at time, there is no denying the tremendous change the global village goes through. Reactionary thinking and the insistence of an image of the world, which probably never was that great as the speaker imagines it, are hopefully by-products of progress, one that has already redefined many parts of our daily lives. As our nations struggle or start to re-think their identity, we may observe the new openness of that concept, and hopefully be ready for it.
Ultimately, this change and how we react to it may prove our worth as a society and as human beings. For Taiwanese director Wang Yu-lin, the moment he began contemplating on why two people of the same sex could fall in love, started in his twenties while he was in the military.
While it seems as if the current wave of conservatism, old-fashioned ideals and xenophobia has the upper hand at time, there is no denying the tremendous change the global village goes through. Reactionary thinking and the insistence of an image of the world, which probably never was that great as the speaker imagines it, are hopefully by-products of progress, one that has already redefined many parts of our daily lives. As our nations struggle or start to re-think their identity, we may observe the new openness of that concept, and hopefully be ready for it.
Ultimately, this change and how we react to it may prove our worth as a society and as human beings. For Taiwanese director Wang Yu-lin, the moment he began contemplating on why two people of the same sex could fall in love, started in his twenties while he was in the military.
- 5/22/2019
- by Rouven Linnarz
- AsianMoviePulse
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