Asking for the award of Hou Hsiao hsien s films, how do you evaluate director Hou Hsiao hsien?

In 1983, he directed The Sandwich Man, which won the Best Film Award at the Sidelmannheim Film Festival, and The Boys from Fungkuei won the Best Film Award at the 1984 Nantes Tricontinentals Film Festival. In 1984, he wrote the script "Rapeseed" and won the Best Adapted Screenplay Award at the 21st Taiwan Golden Horse Awards. "A Summer at Grandpa's" won the Best Film Award at the 1985 Nantes Three Continents Film Festival in France and the Best Director Award at the 30th Asia-Pacific Film Festival.

In 1985, he co-wrote the script "Once Upon a Time in Childhood" with Zhu Tianwen, and won the Best Original Screenplay Award at the 22nd Taiwan Golden Horse Awards. For directing the film, he won the International Film Critics Award at the 37th West Berlin Film Festival, and the Rotterdam Film Festival, Hawaii Film Festival, and Asia-Pacific Film Festival Film Festival Work Award. In 1987, he directed "Dust in the Wind", which won the Best Cinematography Award at the 1987 Nantes Three Continents Film Festival in France.

Best Director Award at the Tria International Film Festival in Portugal. Nile Girl won the Special Critics Award at the 5th International Youth Film Festival at the 1987 Turin Film Festival. In 1989, he directed "A City of Sadness" and won the Best Director Award at the 26th Golden Horse Awards, the Best Work Award and the Special Director Award at the Taiwan Evening News.

Golden Lion Award at the 46th Venice Film Festival. In 1993, he directed "Dream Life" The Puppetmaster, which won the Best Work Award at the Taiwan China Times Evening News Film Awards, and the Special Award for Judges at the 1993 Cannes Film Festival. He plans to film a trilogy of modern Taiwanese history; Namely, "City of Sadness", "Dream Life" and "Taro Urashima", which is currently in production.

In 1991, as a producer, he produced "The Red Lantern Hangs High" (Red Dream), "Good Men and Good Women" (1995) (Haonan Haonu) won three awards at the 32nd Golden Horse Awards for Best Director, Adapted Screenplay and Sound Recording, and the Best Film Award at the 1995 Changchun Film Festival in mainland China. Coffee Jikou (2004) won the Berlin Film Festival Award, the TEDDY Award, the Best Foreign Language Film at the Norwegian International Film Festival, the 42nd Best Actress in 2005 and the 42nd Best Film in 2005.

Director Hou Hsiao-hsien's movies are very literary and artistic. It can be said that he is an early representative of Taiwanese literature and art. The films he made became the memories of a generation of Taiwanese people, and he also won the Golden Horse Award for Best Director.

Nature has a deep affection for this land. The things he shoots are very Taiwanese.

Everything he photographs has the air of a tropical island. And he also has the literary and artistic atmosphere of Taiwanese literati. may be because he has read a lot of books since he was a child, so the movies he made later are very literati.

Hou Xiaoxian also said that if he hadn't read so many books when he was a child, he wouldn't have made so many good movies.

Hou Hsiao-hsien is also the memory of a generation of Taiwanese, he has cooperated with many stars, such as Taiwan's Yi Nengjing and Niu Chengze, all of whom have cooperated with Hou Hsiao-hsien. And Hou Xiaoxian also served as the producer of the red lantern hanging high. This TV series may be familiar to everyone, because it was directed by Zhang Yimou.

There are a lot of stage elements used in this movie, and the whole movie picture is particularly beautiful. In the past, the filming of movies was still more exquisite. They will have a lot of beauty that they are looking for.

And this is not something that can be discharged by today's commercial films, although the technology will be more advanced now, and the equipment will be more advanced, but many people shoot things like soap operas. It's not classic at all.

And Hou Xiaoxian's generation of directors is undoubtedly very serious and very pursuing. Any shot in their movie has a wonderful company. Both in terms of the beauty of the shot and the narrative of the story, it is unique.

Director Hou Hsiao-hsien is very talented, and many of the movies he has directed are very powerful, especially his work "Assassin Nie Yinniang", which I like very much.

This director is very dedicated, and he treats the actors very well, and he is very serious when facing his work, and he is a very good director.

This director is actually a bit talented, and he has also produced a lot of excellent works, but he doesn't make much commercial films.

"City of Sadness" - "Flowers of the Sea" - "The Name of the Millennial Mambo Rose" - "Nile Daughter" - "Love in the Wind and Dust" - "Drama Dream Life" - "Childhood Memories" - "Goodbye Southland Goodbye" - "The Man from the Wind Cabinet" - "Coffee Time" - "She is Yo-Yo" - "The Journey of the Red Balloon" - "Winter Holiday" - "Green Grass by the River" - "Son's Big Doll" - "Portrait of Hou Xiaoxian" - "Nie Yinniang" - "Craftsman Skills in the Prosperous Age" - "Wind Tapping and Trampling".

Works directed works.

The Journey of the Red Balloon (2007) Nie Yinniang (2007) One Movie per Person (2007).

Hou Hsiao-hsien's work: stills from "Coffee Time" (10 photos) Craftsmanship in the Prosperous Era (2006) The Best of Times (2005) Coffee Time (2003) The Name of the Millennial Mambo Rose (2001) Flowers of the Sea (1998) Goodbye Southland, Goodbye (1996) Good Men and Good Women (1995) Dream Life (1993) City of Sadness (1989) Nile Daughter (1987) Love in the Dust (1986) Childhood Memories (1985) Winter Holidays (1984). The Son's Big Doll (1983).

Hou Hsiao-hsien's works: stills from "The Best of Times" (20 photos) The Man from the Wind Cabinet (1983) The Green Grass by the River (1983) The Wind Taps and Stomps (1981) is the slippery her (1980).

Screenwriting works. The Journey of the Red Balloon (2007) The Best of Times (2005) Coffee Time (2003) Last Winter (1995) Childhood Memories (1985) Childhood Sweethearts (1985) Winter Vacation (1984) Rapeseed (1983) Green Grass by the River (1983) The Story of Xiao Bi (1983) Pretty Butterflies (1982) Good Morning Taipei (1979) Green Lake Cold (1976).

Producer works.

Story 36 (2010) Alice's Mirror (2005) Chase with Destiny (2000) Last Winter (1995) Tosan (1994) Boy, Ann! (1992) The Red Lantern Hangs High (1991) The Story of Xiao Bi (1983).

Actor's work. Métro Lumière: Hou Hsiao-Hsien à la Rencontre de Yasujir Ozu (2004) Portrait of Hou Hsiao-hsien (1997) Male and Female Appearances: Gender in Chinese Cinema (1996) Days Without the Sun (1990) Old Lady Enough (1986) Childhood Sweethearts (1985).

Director's work.

The Journey of the Red Balloon (2007).

Nie Yinniang (2007).

One Movie per Person (2007).

Hou Hsiao-hsien's work: Stills from "Coffee Time" (10 photos).

Craftsmanship in the Prosperous Era (2006).

The Best of Times (2005).

Coffee Time (2003).

The name of the millennial mambo rose (2001).

Flowers of the Sea (1998).

Goodbye Southland, Goodbye (1996).

Good Men and Good Women (1995).

Dream Life (1993).

City of Sadness (1989).

Nile Daughters (1987).

Love in the Dust (1986).

Once Upon a Time (1985).

Winter Holidays (1984).

The Son's Big Doll (1983).

Hou Hsiao-hsien's work: Stills from "The Best Time" (20 photos).

The Man Who Came from the Windbox (1983).

Green Grass on the Riverside (1983).

Wind Tapping (1981).

It's Yoyo She (1980).

Screenwriting works. The Journey of the Red Balloon (2007).

The Best of Times (2005).

Coffee Time (2003).

Last Winter (1995).

Once Upon a Time (1985).

Childhood Sweethearts (1985).

Winter Holidays (1984).

Rapeseed (1983).

Green Grass on the Riverside (1983).

The Story of Xiao Bi (1983).

Pretty Butterflies (1982).

Good Morning Taipei (1979).

Green Lake Cold (1976).

Producer works.

Story 36 (2010).

Alice's Mirror (2005).

Lifeband Chase (2000).

Last Winter (1995).

Tossan (1994).

Boy, ah! (1992)

The Red Lantern Hangs High (1991).

The Story of Xiao Bi (1983).

Actor's work. Métro Lumière: Hou Hsiao-Hsien à la Rencontre de Yasujir Ozu (2004).

Portrait of Hou Hsiao-hsien (1997).

Male and Female Appearances: The Gender of Chinese Cinema (1996).

Days Without the Sun (1990).

The Old Lady is Sassy (1986).

Childhood Sweethearts (1985).

Movie Section:

Screenwriter: 1982 "Windmill and Train" directed by Zhang Peicheng 1982 "Little Fugitive" directed by Zhang Peicheng

1983 "Riding a Horse into the Forest" directed by Wang Tong

1984 "Yangchun Dad" directed by Wang Tong

1985 "Good Boy" directed by Wang Tong

1987 The first paragraph of "Yellow Story" directed by Wang Xiaodi, screenwriter and director.

1992 "Young Nezha".

1994 "Long Live Love".

1996 "The River".

1998 "The Hole".

2001 "What Time Is It Over There".

2002 "The Bridge Is Gone".

2003 "No See, No Part".

2003 "A Cloud on the Edge of the Sky".

Director Hou Hsiao-hsien is also a relatively talented director, and he is relatively famous in the memory of a generation. One of his most famous works on the mainland should be the red lantern hanging high, and he is the producer of this film. And every shot of this movie is a classic.

These movies are really classics, and these movies are like soap operas, although the machines are more advanced now, and the post-production is more advanced, but they don't have the artistry of the previous movies.

It may be that those directors are more talented and more ambitious, unlike the ones that are completely commercialized now. Director Hou Hsiao-hsien's films have a very strong literati atmosphere, which may have something to do with the fact that he has read a lot of books, and he himself said in an interview that if he hadn't read so many books, he wouldn't have been able to make so many movies.

Taiwan is the birthplace of Xiaoxin literature and art, and their literary and artistic atmosphere there is very strong, which may be related to the development of their early literary and artistic works, and Hou Hsiao-hsien is such a representative of Taiwanese literature and art. The movies he shot are really small and fresh, and the atmosphere is very strong. It has that tropical island vibe.

It feels like more of his films are in the summer. This may have something to do with the fact that he grew up in Taiwan, where there is no winter. He followed his parents to Taiwan when he was 4 months old, where he grew up and never left Taiwan.

So a lot of the things he photographed are similar to Taiwan.

And the movies he shot have also become the memories of a generation of Taiwanese people, and he is more popular in Taiwan than in the mainland. In the period when mainland films were developing, director Hou Xiaoxian was already very old and no longer made movies, so mainland audiences may not be very familiar with him. However, this still does not deny his contribution to cinema.

The films he shot have a very strong island atmosphere, and they also have the atmosphere of Taiwan's early literature and art. It's still very worthy of our **.