One of the important films in the sidebar of Cannes Critics Week is “Left-handed Woman”, a major length solo film by Taiwanese director Shih-Ching Tsou. She works with Sean Baker, who can make pictures as well.
“Left-handed Woman” follows a journey of a single mother and her two daughters who arrived in Taipei from the countryside not long ago and worked hard to make ends meet.
Tsou was born and raised in Taipei and arrived in New York to work as a graduate student in media studies in the new college. There she met Baker, who won four Oscars in March for his characteristic “Anora” – a long-term collaboration was born. Tsou will produce his first feature film, “4-Letter Phrase,” co-directed the 2004 “Phase Out” and produced Baker's “Orange,” “Florida Mission” and “Crimson Rockets.”
Tsou describes her debut feature as an emotional and profound private journey. One that starts with memories.
“Once my grandfather instructed me, his left hand was ‘Satan’s hand’. She grabbed me, especially rising in a standard Taiwanese family.
“get [the film] The durability, durability of the production and tend toward the assumption that quiet stories should have a place on a large-scale display screen. I used to carry many hats – writing, directing, producing – so it was to defend imaginative and prescient integrity, and gathered a labor force that I believed in in the film like me,” she said.
After more than 20 years of dedicated work with others, this is a tweak to the solo.
“From position scouts, actors, wardrobes to post-production, I'm used to caring about every step. So, collaboration for me means not simply sharing credit scores, how much faith it's shared. In this movie, I have an incredible local crew in Taipei. I keep shutting up to make sure the tone and rhythm of the movie stays the same,” she said. ”
Tsou points out that for “left-handed women”, co-made mannequins are important.
She works with producers in U.Okay. In addition to Taipei Film Fee's Taipei Film Fund, France and “Left-handed Women” also received support from the Taiwan Traditional Ministry.
“This architecture allows the film to remain authentic in Taiwan, benefiting from global collaboration. Co-production can deepen the mission's reach and resonance when peers are creatively and culturally consistent,” Tsou said.
Taiwanese films have always been in Europe, especially at the Cannes Film Festival. Between 1994 and 2000, the films of Auteurs Hou Hsiao-Hsien and the late Edward Yang were made in six instances among competitors.
“The emotional limitations of Taiwanese storytelling actually resonate with European audiences. It's not a loud cinema – it's the people affected, subtle and observable. Administrators like Edward Yang and Hou Hsiao-Hsien have confirmed how effective a quiet second might be. Currently, European audiences feel solid.
Homme Tsai, chairman of Taiwan’s Creative Content Materials Corporation (TaiCCA), said the European Movie Festivals is a huge part of Taiwan’s efforts to increase its status and popularity on the broader stage.
“Co-production can successfully enhance the technical cooperation of Taiwanese film {Industry}. As a global co-production, it can be comparable to 'shameless' and 'Mongrel' and has been successful in major film festivals and in different important world occasions, in addition, they have also established a stage off the stage around the world in Taiwan and Europe.”
“Today, Taiwan's films {Industry} can strengthen its foundation by collaborating with different international locations and jointly building funding,” Tsai said. “With the assistance of Taoca, fostering the ties between industry companies, Taiwan's films {Industry} may be more highly integrated with the global market.”
Tsou said it could be a dynamic moment for Taiwanese filmmakers.
“A brand new technology for Taiwanese filmmakers is pushing boundaries, and politically, socially and visually can cause the appeal of customs. Global curiosity in Taiwanese cinemas rises, and I hope to be able to interpret it as practical support: higher funding, more than common products, and what has not been heard yet, they have not heard in other times, this is ''
Tsou asked her to have any advice for potential producers and administrators, and he mentioned that it is important not to chase traits and focus on reality.
“Even if it’s unconventional, the audience can tell when the movie is trustworthy. If you’re a director, you need to be on the long streets, rejected, misunderstood for a while. But, it’s really, lasting things to do for you to keep your perspective and defend it.
