Searching for Three Times—or writing about it—is not just an act of film criticism. It is an act of mourning. Because Hou Hsiao-hsien, now in his late 70s, has not made a film since The Assassin (2015). There are rumors of dementia, of retirement, of a lost script called The Daughter of the Nile.
Three Times stands as his most accessible film, his most romantic film, and perhaps his most personal. In it, you see all three of Hou’s personas:
If you have never seen a Hou Hsiao-hsien film, start with Three Times. Watch it once for the images. Watch it twice for the silence. Watch it three times—three times—to understand that time is not a river. It is a room. And we are all waiting for someone to walk through the door.
The first segment, titled A Time for Love, is set in 1966. We are in a billiard hall in Kaohsiung. Chang Chen plays Chen, a conscript on leave. Shu Qi plays May, a young woman who works at the pool hall.
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Hou Hsiao-hsien Three Times (2005) is a triptych of longing, following the same two leads—Shu Qi and Chang Chen—through three distinct eras of Taiwanese history. The Three Eras of Love
The film explores how social environments shape romance, moving from innocence to formal constraint, and finally to modern disconnection. Three Times - Symposiums - Reverse Shot
Yet where Trier dredges up the past to angrily, misguidedly accuse the present of lack of foresight, Hou Hsaio-hsien, with a hush, Reverse Shot Toronto Film Festival–“Three Times” - Girish Shambu
Hou Hsiao-hsien’s Three Times (2005) is considered a major feature and a "masterpiece" because it functions as a summary of his career, weaving together three distinct love stories set across a century of Taiwanese history. The Three Stories
The film features the same lead actors, Shu Qi and Chang Chen, playing different couples across three eras:
The Cinematic Trilogy of Hou Hsiao-hsien: A Critical Analysis
Hou Hsiao-hsien, a Taiwanese filmmaker, has been a pivotal figure in contemporary cinema, renowned for his distinctive narrative style, long takes, and exploration of Taiwanese identity. Among his extensive filmography, "Three Times" (, Sān Cì) stands out as a unique trilogy that reimagines and reinterprets the lives of three women across different eras. Comprising "This Is My First Life" (2005), "The Time That Remains" (2006), and "The Blossoming of Girls" (2006), "Three Times" presents a fascinating exploration of love, longing, and the human condition. This essay aims to provide an in-depth analysis of Hou's cinematic approach, thematic concerns, and the ways in which "Three Times" challenges traditional narrative structures.
Narrative Structure and Cinematic Style
"Three Times" deviates from conventional narrative filmmaking by presenting three distinct stories that are connected through recurring themes and motifs rather than a linear narrative thread. Each episode is set in a different period: 1960s Taiwan, 1940s Japan, and 1910s Taiwan. This non-linear approach allows Hou to traverse historical and cultural landscapes, probing the complexities of Taiwanese identity and its intersection with colonial histories. For instance, the episode "This Is My First Life" features a lengthy 40-minute uninterrupted take, showcasing Hou's mastery of long-take cinematography. This innovative technique not only pays homage to Hou's signature style but also immerses viewers in the characters' lived experiences.
Thematic Concerns
The trilogy explores the lives of three women, each representing a different era and societal context. Through their stories, Hou examines themes of love, loss, and the human condition. The episodes are characterized by a sense of melancholy and longing, reflecting the director's preoccupation with the ephemeral nature of life and human connections. For example, in "The Time That Remains," Hou portrays a poignant love story between two intellectuals in 1940s Japan, highlighting the tensions between personal desire and societal expectations.
Colonial Histories and Taiwanese Identity
"Three Times" provides a unique lens through which to examine Taiwan's complex history, marked by colonialism, war, and social change. Hou's portrayal of Taiwan's past serves as a backdrop for exploring the nation's present and future. The trilogy critiques the erasure of Taiwanese history and culture, highlighting the need for collective memory and remembrance. By doing so, Hou offers a powerful commentary on the importance of preserving cultural heritage and promoting national identity.
Conclusion
In conclusion, "Three Times" is a remarkable trilogy that showcases Hou Hsiao-hsien's mastery of cinematic storytelling and his profound engagement with Taiwanese history, culture, and identity. Through its innovative narrative structure, thematic concerns, and historical contexts, the trilogy offers a rich and nuanced exploration of the human experience. As a testament to Hou's enduring influence on world cinema, "Three Times" continues to inspire filmmakers and scholars alike, solidifying its place as a landmark work in the history of cinema. Ultimately, Hou's work serves as a poignant reminder of the power of cinema to illuminate the complexities of human experience and to foster a deeper understanding of our shared cultural heritage.
References: Chen, S. (2016). Hou Hsiao-hsien's "Three Times": A Study on the Trilogy's Narrative Structure and Thematic Concerns. Journal of Film and Video, 67(1/2), 28-45.
Hou, H. (2006). Three Times [Motion picture]. Taiwan: CMC Pictures.
Liu, P. (2018). Taiwanese Cinema and the Politics of Memory. Taiwan Journal of Studies, 20(1), 137-154.
You're referring to the documentary film "Three Times" (also known as "San ci") directed by Hou Hsiao-hsien!
Introduction
"Three Times" is a 2005 Taiwanese drama film written and directed by Hou Hsiao-hsien. The film stars Shu Qi, Chang Chen, and Wang Luodan. It's a poignant and contemplative exploration of love, relationships, and the human condition, set against the stunning backdrop of Taiwan's natural beauty.
The Film's Structure
The film is divided into three distinct segments, each titled after a different time period: "A Happy Man" (set in the 1960s), "A Sad Man" (set in the 1970s), and "A Lonely Man" (set in the 2000s). Each segment features a different cast, but all are connected by themes of love, loss, and longing.
Segment 1: A Happy Man (1960s)
The first segment, "A Happy Man," tells the story of a young musician (played by Chang Chen) who falls in love with a woman (played by Gong Li) in a picturesque coastal town. Their romance is filled with joy and laughter, but ultimately ends in heartbreak.
Segment 2: A Sad Man (1970s)
The second segment, "A Sad Man," takes place in the 1970s and follows a struggling musician (played by Sihung Lung) who becomes embroiled in a complicated relationship with a woman (played by Maggie Shih). This segment explores the pain and sadness of lost love.
Segment 3: A Lonely Man (2000s)
The final segment, "A Lonely Man," is set in the present day and centers around a famous pop star (played by Shu Qi) who becomes involved with a young man (played by Wang Luodan). This segment grapples with the isolation and disconnection of modern life.
Themes and Style
Throughout the film, Hou Hsiao-hsien employs his signature lyrical and meditative style, using long takes, stunning cinematography, and a minimalist score to evoke a sense of nostalgia and melancholy. The film's themes of love, loss, and longing are timeless and universal, transcending cultural and linguistic boundaries.
Reception and Legacy
"Three Times" received widespread critical acclaim upon its release, with many praising Hou Hsiao-hsien's masterful direction, the performances of the cast, and the film's poignant exploration of the human condition. The film won several awards, including the Best Director award at the 2005 Cannes Film Festival.
Conclusion
"Three Times" is a masterpiece of contemporary cinema, a film that showcases Hou Hsiao-hsien's unique vision and artistic sensibility. It's a powerful exploration of love, loss, and the human experience, set against the stunning backdrop of Taiwan's natural beauty. If you're a fan of contemplative, lyrical cinema, then "Three Times" is a must-see film.
In the world of Taiwanese master Hou Hsiao-hsien , time isn’t a straight line—it’s a recurring dream. His 2005 film Three Times
captures this through a triptych of love stories set across a century of Taiwanese history, all starring the same two leads, Chang Chen , as they orbit each other in different lifetimes. 1966: A Time for Love
The story begins in a smoke-filled billiard room in Kaohsiung. Chen, a young man about to be drafted into the military, meets May, a pool-hall hostess. Their connection is innocent and tactile—long shots of pool balls clacking against the sound of 1960s pop tunes like "Rain and Tears". After he leaves for service, he writes her letters, only to return on leave and find she has moved on to a different city. He follows her across the island, eventually finding her in a new hall. They share a quiet meal and a rainy walk, finally holding hands in a simple, wordless declaration of devotion. 1911: A Time for Freedom
The clock winds back to the Japanese occupation era. In a lush, silent-film-style segment, the dialogue is conveyed through intertitles. Here, the woman is a courtesan in a Dadaocheng brothel, and the man is a revolutionary intellectual. He speaks of Chinese independence and helps another girl buy her freedom, yet he remains oblivious to the quiet longing of the woman who serves him tea and combs his hair. Their love is a tragedy of social constraints: he is dedicated to a "freedom" that does not include her, leaving her trapped in her gilded cage as he sails away for the cause. 2005: A Time for Youth
"Three times Hou Hsiao Hsien: A Cinematic Odyssey
In the realm of Taiwanese New Wave cinema, one name stands out: Hou Hsiao Hsien. Three films, each a masterclass in storytelling, showcase the director's innovative spirit and poetic vision.
'A Summer's Snow' (1983), Hou's seventh feature, marks a turning point in his career. This deceptively simple tale of a young girl's journey through a snow-covered landscape explores themes of isolation and disconnection. Shot in stunning monochrome, the film mesmerizes with its tranquil pace and attention to detail.
Next, 'A Time to Kill' (1989) propels Hou into the international spotlight. A poignant exploration of youthful rebellion and social constraint, set against the backdrop of 1960s Taiwan, earned the film the Golden Leopard at the 1989 Locarno International Film Festival.
Lastly, 'The Puppetmaster' (1993) cements Hou's reputation as a cinematic poet. Based on the life of Li Pi-Hua, a renowned Taiwanese puppeteer, the film deconstructs the boundaries between reality and performance. Rich in texture and visual metaphor, 'The Puppetmaster' won the 1994 Best Director award at Cannes.
Three films, distinct yet interconnected, reveal Hou Hsiao Hsien's unique preoccupations: the fragility of human relationships, the tension between tradition and modernity, and the expressive potential of cinema itself. For those willing to immerse themselves in Hou's contemplative world, a rich cinematic odyssey awaits."
Here, Hou establishes his signature: the long take, the doorway frame, the static camera that refuses to cut to a face during an argument. The film is semi-autobiographical, following a family migrating from mainland China to Taiwan.