Hou’s late-career masterpiece. Set in 9th-century Tang dynasty, it follows a female assassin (Shu Qi) ordered to kill her cousin, a political lord she once loved.
Three times Hou, and you notice the pattern: he films what happens between events. Not the goodbye, but the silence after. Not the battle, but the horse breathing in the mist before. His characters rarely cry; they stare at walls. They rarely explain; they pour tea.
Who should attempt this triptych? Anyone who believes cinema has become too fast, too loud, too literal. Hou is the antidote. But a warning: after three Hou films, a Hollywood action scene will feel like a panic attack.
Final Rating (for the trio as an experience): ★★★★½ (minus half a star only because your neck will hurt from leaning toward the screen, trying to catch a whispered line that was never meant to be caught.)
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.
Three Times ) is a career-defining triptych from Taiwanese master Hou Hsiao-hsien
, widely regarded as a "summa" of his cinematic evolution. The film explores three distinct love stories set across three historical eras in Taiwan, all starring the same lead actors, Chang Chen The Three Chapters
The film's structure reflects different periods of Taiwan's history and Hou’s own stylistic development: A Time for Love (
: Set in a smoke-filled Kaohsiung pool hall, a young soldier meets a hostess. This segment is noted for its nostalgic, lyrical quality and use of s pop songs. A Time for Freedom (
: Set during the Japanese occupation, this chapter follows a courtesan and a political activist. Hou presents this segment in the style of a silent film , using intertitles for dialogue and a solo piano score. A Time for Youth (
: The final segment depicts a fractured, modern Taipei where a singer and a photographer navigate a restless, digital-age romance. Key Themes and Style The Weight of History
: By spanning nearly a century, Hou examines how the concepts of love and freedom change—or remain frustratingly stagnant—over time. Aesthetic Mastery : The film is famous for its "optics of ephemerality,"
using natural light, long takes, and a static camera to capture "time as it evaporates". Repetition and Variation
: The use of the same actors across different roles emphasizes the "ultimate repetition" of human longing throughout history. Senses of Cinema The Complexity of Minimalism: Hou Hsiao-hsien's Three Times
Hou Hsiao-hsien ’s Three Times (2005) is a masterful triptych that explores the evolving landscape of love and desire across three distinct eras of Taiwanese history. Using the same two lead actors—Shu Qi and Chang Chen—Hou crafts three separate narratives that examine how the social and political atmosphere of a time period fundamentally shapes human connection. 1. A Time for Love (1966)
Set in the coastal city of Kaohsiung, this segment is widely considered the film’s most lyrical and evocative chapter. The Complexity of Minimalism: Hou Hsiao-hsien's Three Times
Hou Hsiao-hsien Three Times (2005) is often described as a "summa" of his career—a film that functions as both a retrospective of his stylistic evolution and a deep meditation on the shifting soul of Taiwan.
By casting the same two leads—Shu Qi and Chang Chen—in three different eras, Hou creates a cinematic triptych that explores how the "purity" of love is filtered through the specific social and political constraints of its time. 1966: A Time for Love
The first segment, "A Time for Love," is arguably the most nostalgic and accessible part of the film. Set in 1966 Kaohsiung, it follows a young man (Chang Chen) about to leave for military service and his pursuit of a pool-hall hostess (Shu Qi).
The Vibe: Bathed in a warm, golden glow and fueled by 1960s pop hits like "Smoke Gets in Your Eyes," this chapter recalls Hou’s earlier autobiographical works like Dust in the Wind.
The Connection: Love here is defined by distance and persistence. The simple act of holding hands in the rain becomes a monumental climax, representing a "pure" romantic connection before the complications of the modern world. 1911: A Time for Freedom
The middle segment, "A Time for Freedom," shifts to a formal, claustrophobic brothel in 1911 during the Japanese occupation of Taiwan.
The Form: Hou presents this story as a silent film with intertitles and traditional Chinese music, a stylistic choice forced by a tight schedule but one that perfectly mirrors the restricted agency of the characters. three times hou hsiao hsien
The Tragedy: While the male protagonist fights for Taiwan’s national freedom, he is blind to the lack of personal freedom experienced by the courtesan he visits. Their "love" is a series of polite, agonizingly restrained gestures trapped behind screens and social expectations. The Complexity of Minimalism: Hou Hsiao-hsien's Three Times
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
The Cinematic Genius of Hou Hsiao-hsien: A Master Filmmaker's Three Times Legacy
Hou Hsiao-hsien is a name that resonates deeply within the realm of world cinema. A Taiwanese filmmaker of international renown, Hou has been weaving intricate tales of love, loss, and longing for over four decades. His films are characterized by their poetic nuance, meticulous attention to detail, and a profound understanding of the human condition. Among his extensive filmography, one series stands out as a testament to his innovative storytelling and cinematic craftsmanship: "Three Times."
A Trio of Films, A Unified Vision
"Three Times" is a trilogy of films that Hou Hsiao-hsien directed between 2005 and 2006. The series consists of "Goodbye to Language," "The Flight of the Red Balloon," and "The Man from Mo-i." While each film can be appreciated as a standalone work, together they form a cohesive whole, exploring the intricacies of love, memory, and the passage of time.
Goodbye to Language (2004) - A Prelude to the Trilogy
Although not officially part of the trilogy, "Goodbye to Language" (2004) sets the tone for "Three Times." This film is a meditation on the complexities of relationships, told through the story of a couple (played by Sylvia Chang and Ji-deok Koo) whose seemingly tranquil life is disrupted by the arrival of a mysterious woman. Hou's use of long takes, minimalist dialogue, and a deliberate pacing creates a dreamlike atmosphere, immersing the viewer in the world of his characters.
The Flight of the Red Balloon (2007) - A Childhood Revisited
The first film of the trilogy, "The Flight of the Red Balloon," premiered at the 2007 Cannes Film Festival. This beautifully shot film tells the story of a young boy named Shih (played by Hou's own son, Hou Chih-jan), who becomes embroiled in a poignant tale of family dynamics, love, and loss. Shot on location in Taipei, the film features Hou's signature use of long takes and a meandering narrative, which invites the viewer to reflect on the fleeting nature of childhood.
The Man from Mo-i (2006) - A Lover's Requiem
The second installment, "The Man from Mo-i," premiered at the 2006 Venice Film Festival. This film is a sensual and melancholic exploration of love, memory, and regret. The story revolves around a poet, Yang (played by Sihung Lung), who rekindles a long-lost romance with a woman from his past (played by Grace Meng). Through their bittersweet encounters, Hou probes the complexities of love, highlighting the ways in which memory can both sustain and haunt us.
5:15 A.M. Taipei (2008) - A Coda to the Trilogy
The final film of the trilogy, "5:15 A.M. Taipei," is a contemplative and introspective work that examines the city of Taipei at dawn. Hou's camera captures the quiet beauty of the city as it awakens, juxtaposing the stillness of the morning with the turmoil of human emotions. This film serves as a coda to the trilogy, providing a meditative conclusion to the themes and motifs explored in "Three Times."
Themes and Motifs: A Deeper Exploration
Throughout "Three Times," Hou Hsiao-hsien engages with several recurring themes and motifs, including:
Legacy and Influence
Hou Hsiao-hsien's "Three Times" has had a profound influence on world cinema, inspiring a new generation of filmmakers to experiment with non-linear narrative structures and poetic storytelling. His use of long takes, minimalist dialogue, and a focus on the intricacies of human relationships has also influenced the work of directors such as Apichatpong Weerasethakul and Lav Diaz.
In conclusion, Hou Hsiao-hsien's "Three Times" is a masterpiece of contemporary cinema, a testament to the director's innovative storytelling, cinematic craftsmanship, and profound understanding of the human condition. Through this trilogy, Hou invites us to reflect on the complexities of love, memory, and the passage of time, offering a rich and immersive cinematic experience that lingers long after the credits roll.
The 2005 film Three Times, directed by Hou Hsiao-hsien, is an anthology of three distinct love stories set in different eras of Taiwan’s history. Each segment features the same lead actors, Shu Qi and Chang Chen, playing different couples whose romances reflect the social and political atmosphere of their time. A Time for Love (1966)
In a smoky pool hall in Kaohsiung, a young man named Chen meets May, a "pool lady" who works there. Their connection is quiet and tentative, built through small gestures and the pop songs playing on the radio. When Chen is called for military service, he writes to her, but by the time he returns on leave, she has moved to another town. He tracks her down through a series of pool halls across the island, eventually finding her on a rainy night. Their reunion is wordless and tender, capturing the innocent, fleeting romance of the 1960s. A Time for Freedom (1911)
Set during the Japanese occupation of Taiwan, this segment is filmed as a silent movie with intertitles, reflecting the classical sentiment of the era. A dedicated patriot and intellectual visits a beautiful courtesan in a Dadaocheng brothel. She longs for her freedom, hoping he will pay to release her so she can become his concubine. However, he is preoccupied with the revolution in China and the fight for Taiwan's future. The story highlights the unrequited longing and the personal sacrifices made during a time of great political upheaval. A Time for Youth (2005)
In modern-day Taipei, the lives of Jing, an epileptic bisexual singer, and Zhen, a digital photographer, are messy and interconnected. Jing is involved in a volatile relationship with her girlfriend while also seeing Zhen, who is himself attached to another woman. The fragmented and fluid nature of their lives, captured through close-ups and digital textures, mirrors the alienation and sensory overload of the 21st century. Unlike the previous eras, their connection is defined by its restlessness and the difficulty of finding true intimacy in a hyper-connected world.
Critics have noted that the film acts as a distillation of Hou's earlier works, exploring how love and human connections are shaped—and often limited—by the shifting of time and history.
"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."
The Chinese title (最好的時光) translates literally to "The Best Time." But the film asks a cruel question: When was the best time?
Hou Hsiao-hsien refuses to answer. Instead, he suggests that "the best time" is never a time you live through. It is always a time you remember—or a time you imagine. The pool hall girl in 1966 dreams of the revolution. The courtesan in 1911 dreams of modernity. The photographer in 2005 dreams of the past.
We are all trapped in the wrong time. And that, Hou proposes, is the only universal truth about love.
The final segment crashes the viewer into the contemporary world of Taipei, 2005. Gone are the golden hues and the silences; instead, the screen is filled with neon lights, motorcycles, and the jagged rhythm of modern life.
Here, Chang Chen plays a bisexual photographer involved in a volatile relationship with a singer (Shu Qi), who is suffering from a potentially serious illness. This is a world of digital noise and emotional chaos. The characters are free from the social taboos of 1911 and the distance of 1966, yet they are profoundly unhappy.
The irony of "A Time for Youth" is palpable. In an age of instant communication and sexual liberation, the characters are emotionally disconnected, trapped in cycles of jealousy, ennui, and petty arguments. It creates a striking contrast with the previous segments: while technology and freedom have increased, the ability to connect deeply has seemingly diminished. Hou’s late-career masterpiece
Here, Hou does something breathtaking. The entire 40-minute segment is shot without synchronous sound. We hear a piano score, intertitles (like a silent film), and ambient noise—but never the actors’ voices. All dialogue appears as title cards.
Why? Because Hou Hsiao-hsien is showing us the silence of the oppressed. The couple cannot speak freely—he is a wanted revolutionary, she is trapped in a brothel. Their love is conducted in whispers, letters, and stolen moments. By removing spoken dialogue, Hou forces us to read their bodies. A hand touching a sleeve. A glance held one second too long. A sigh.