A feature debut by director Cheng Hsiao-tse (程孝澤), Miao Miao (渺渺) is the latest addition to the adolescent romance genre that has become a staple of contemporary Taiwanese cinema. What sets it apart from the pack is its big-name production team — Jet Tone Films (澤東電影), founded by Wong Kar-wai (王家衛), producers Stanley Kwan (關錦鵬) and Jacky Pang (彭綺華), editor William Chang Suk-ping (張叔平) and cinematographer Kwan Pun-leung (關本良).
The payoff of working with the heavyweights is a piece of well-executed, technically polished pop art that should prove popular with the youth market.
Ai (Sandrine Pinna), a sassy high school girl, meets Miao Miao (Ke Jia-ya, 柯佳嬿), the new exchange student from Japan, and is immediately attracted to the quiet, gentle newcomer. The two become best friends, palling around after school, sharing each other’s secrets and baking cakes together. Life is sweet, for a little while.
It doesn’t take long for Miao Miao to find first love in the form of sullen record store owner Chen Fei (Fan Chih-wei, 范植偉), who shuts out the world with a pair of headphones. Miao Miao enlists Ai’s help in stealing into the taciturn man’s life and winning his affections. Jealous and frustrated, Ai finds her feelings for her best pal go beyond friendship.
Miao Miao tells a solid story about friendship and first love. The well-cast Ke and Eurasian actress Pinna are keys to the film’s authenticity, as the rapport between them feels real and heart-felt. Pinna particularly stands out with her seemingly effortless performance. The sole male lead, Fan, however, struggles with a role that requires nothing more than a sulky face.
On the technical side, Chang’s smooth editing means the narrative structure is sound and clean-cut. The tasteful cinematography by Kwan Pun-leung (2046 and The Postmodern Life of My Aunt, 姨媽的後現代生活) lends a glossy look with an atmospheric palette of greens, purples, oranges and yellows. The urban landscapes of Taipei appeal lyrically, are saturated and rich in detail and stand in pleasing contrast to the clear and transparent hues of suburban life.
The script, however, doesn’t live up to the big names behind the film. Plot cliches are cloyingly overused and narrative devices intended to develop the characters sometimes feel manufactured and forced. And the film’s occasional tone of literary pomposity eats away at the realism generated by the “slices-of-life” acting and dialogue.
In other words, when the leads start citing Jack Kerouac’s On the Road and The Little Prince, the goose bumps the audience gets aren’t the kind the scriptwriters intended.
In late October of 1873 the government of Japan decided against sending a military expedition to Korea to force that nation to open trade relations. Across the government supporters of the expedition resigned immediately. The spectacle of revolt by disaffected samurai began to loom over Japanese politics. In January of 1874 disaffected samurai attacked a senior minister in Tokyo. A month later, a group of pro-Korea expedition and anti-foreign elements from Saga prefecture in Kyushu revolted, driven in part by high food prices stemming from poor harvests. Their leader, according to Edward Drea’s classic Japan’s Imperial Army, was a samurai
The following three paragraphs are just some of what the local Chinese-language press is reporting on breathlessly and following every twist and turn with the eagerness of a soap opera fan. For many English-language readers, it probably comes across as incomprehensibly opaque, so bear with me briefly dear reader: To the surprise of many, former pop singer and Democratic Progressive Party (DPP) ex-lawmaker Yu Tien (余天) of the Taiwan Normal Country Promotion Association (TNCPA) at the last minute dropped out of the running for committee chair of the DPP’s New Taipei City chapter, paving the way for DPP legislator Su
Located down a sideroad in old Wanhua District (萬華區), Waley Art (水谷藝術) has an established reputation for curating some of the more provocative indie art exhibitions in Taipei. And this month is no exception. Beyond the innocuous facade of a shophouse, the full three stories of the gallery space (including the basement) have been taken over by photographs, installation videos and abstract images courtesy of two creatives who hail from the opposite ends of the earth, Taiwan’s Hsu Yi-ting (許懿婷) and Germany’s Benjamin Janzen. “In 2019, I had an art residency in Europe,” Hsu says. “I met Benjamin in the lobby
It’s hard to know where to begin with Mark Tovell’s Taiwan: Roads Above the Clouds. Having published a travelogue myself, as well as having contributed to several guidebooks, at first glance Tovell’s book appears to inhabit a middle ground — the kind of hard-to-sell nowheresville publishers detest. Leaf through the pages and you’ll find them suffuse with the purple prose best associated with travel literature: “When the sun is low on a warm, clear morning, and with the heat already rising, we stand at the riverside bike path leading south from Sanxia’s old cobble streets.” Hardly the stuff of your