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  1. Good Men, Good Women. Good Men, Good Women ( Chinese: 好男好女) is a 1995 Taiwanese film directed by Hou Hsiao-hsien, starring Annie Yi, Lim Giong, and Jack Kao. It is the last installment in the trilogy that began with A City of Sadness (1989) and continued with The Puppetmaster (1993). Like its predecessors, it deals with the complicated ...

  2. Dec 9, 1995 · Good Men, Good Women: Directed by Hsiao-Hsien Hou. With Annie Shizuka Inoh, Giong Lim, Jack Kao, Ah-Cheng. Intended as the concluding film in the trilogy on the modern history of Taiwan began with Beiqing Chengshi (1989), this film reveals the story through three levels: a film within a film as well as the past and present as linked by a young woman, Liang Ching.

    • (1.3K)
    • Drama, Romance
    • Hsiao-Hsien Hou
    • 1995-12-09
  3. Good Men, Good Women. While rehearsing for her latest movie, an actress (Annie Shizuka Inoh) plays out in her head the life of a couple who crusaded against Marxism. Personal and historical memory ...

    • (5)
    • Annie Shizuka Inoh
    • Hsiao-Hsien Hou
    • Drama
  4. Duration. 1h 48m. Liang Ching, a young actress, is plagued by a stranger who constantly calls her on the phone, but never utters a word and sends her faxes containing excerpts from her own diary. In the meantime, she is preparing for her new film, "Good Men, Good Women." It is the story of Chung Haotung and his...

  5. Oct 7, 1995 · Overview. An actress preparing to play in a historical epic is terrorized by someone faxing her pages from her stolen diary; has colorful flashbacks of her affair with a now-deceased man; and imagines black-and-white film-within-a-film scenes of the movie she is about to appear in. Hou Hsiao-hsien. Director. Chu Tien-wen. Writer.

  6. Summaries. Intended as the concluding film in the trilogy on the modern history of Taiwan began with Beiqing Chengshi (1989), this film reveals the story through three levels: a film within a film as well as the past and present as linked by a young woman, Liang Ching. She is being persecuted by an anonymous man who calls her repeatedly but ...

  7. The curse of the survivor is their idealism. The curse of the witness is their luck. Might be the most explicitly feminist of Hou's films I've seen. Also probably an inspiration for Anocha Suwichakornpong's By the Time It Gets Dark. This is a coming-of-age film like much of Hou's other 80s work, even if only obliquely, because it still deals centrally with themes of maturity. When are we ready ...

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