Okay, my favourite topic, Hou Hsiao-hsien. Cool. I have not seen 'Flowers of Shanghai'. It has not been released in Australia but I must purchase it on Region 1 pronto. Not to be too aggressive with the common opinion, but I disagree that 'A Time to Live and a Time to Die' is Hou's masterpiece. Why? 'Time to Live' does not exemplify the mature HSH style, the aesthetics of which are alluded to by acquarello. In addition to this list, I must include: the foregrounding of space; cutting on axis (quite a rare device in contemporary cinema); off-screen sounds and voice-overs; entrances and exits on axis (most especially in 'City of Sadness'); the use of colour filters (especially 'Goodbye South, Goodbye'); framing through doorways, screens, windows, archways; and obviously the utilisation of narrative techniques that seem to centre on a precise interest in tempo and the revealing of information made deliberately obscure in order to challenge the spectator. 'Time to Live' has some very un-Hou like moments that seem quite jarring and ugly in light of his more recent work. Imagine the shock of seeing 'Good Men, Good Women' or 'The Puppetmasters' and then noticing the use of close-ups in Hou's earlier work! 'Time to Live' is wonderful cinema but it is not Hou at his peak. He seems to be in complete restraint/control of mise-en-scene in 'The Puppetmasters'. I would guess that the attention he received for 'City of Sadness' in particular led to this exploration into a distancing style. Because he could get away with it. (Where else are these long-take, slow rhythm, deeply intricate narrative films being made? A director such as Hou can take a week or more to shoot one sequence-shot from his films. Within the various movie bureaucracies he would never be allowed such a luxury. Regardless of the fact that after such a week he would have just as much in the can as any other continuity filmmaker. I doubt if there'd be much toom in a HSH film for the producer to re-cut!) My two favourite HSH films are 'Good Men, Good Women' and 'Goodbye South, Goodbye'. 'GMGW' is possibly his most accessible film in that it has a clear emotional impact. The story is brilliantly unwound so that the final truth is not revealed until the final scene (sans coda). 'GSG' utilises colour more than other HSH films. It has scenes of interludic grace. The acting and art direction is undeniably realistic, more so than his other films (which is saying a lot). The view of contemporary Taiwan in both these films is perhaps another reason why I place them above the traditional works (although 'GMGW' incorporates both times into the story). It is exceedingly difficult to follow the political and socio-cultural considerations of 'City of Sadness'. And yet, I feel that if I was so worthy (some research is perhaps needed), 'CoS' would hold a myriad of desires until now unknown. The back-lighting is not usually a HSH formal property but I like it enormously. And the arrangement of figures in the setting is the most precise of all his works. I feel like I'm going too far because if you've read to here you must be wondering where some of these statements are coming from or indeed where they could possibly lead. I too am frowning beacuse I feel that any summary such as this of the great man's artworks is barely the (insert your chosen metaphor for the tiny merging with the large, here). Probably the grandest feeling of all when watching a movie for formal passion is the joy of knowing you are in the safe hands of a talented director. This is the warm fuzzy glow I get when watching Hou. Even the mistakes (yes, there are plenty - mostly to do with non-professional actors and HSH likes the errors because they provide realism) are enjoyable. If I was ever going to put a person on a pedastal it would probably be Hou. But I never will. That way I shan't be too disappointed if he ever decides to make an action blockbuster sequel in La La Land. Gee, here's hoping. . . :-/