DIRECTOR: Shih-Ching Tsou
STARRING: Janel Tsai, Ma Shih-yuan, Nina Yeh
RUNNING TIME: 1 hr 48 minutes
LANGUAGE: Chinese
PLOT: Relocating to Taipei to launch a night market stall, a single mother and her two daughters navigate the uncertainties of a new life, balancing survival, adaptation, and the desire to remain united as a family.
GENRE: Drama
FILMING LOCATION: Taipei, Taiwan
To check out all previous submissions for Taiwan, click HERE.
STARRING: Janel Tsai, Ma Shih-yuan, Nina Yeh
RUNNING TIME: 1 hr 48 minutes
LANGUAGE: Chinese
PLOT: Relocating to Taipei to launch a night market stall, a single mother and her two daughters navigate the uncertainties of a new life, balancing survival, adaptation, and the desire to remain united as a family.
GENRE: Drama
FILMING LOCATION: Taipei, Taiwan
To check out all previous submissions for Taiwan, click HERE.
FILM REVIEW:
(This review contains spoilers.)
“If you use the left hand, you're doing the devil's work."
Left-Handed Girl, directed by Shih-Ching Tsou, is a quietly radiant portrait of family, resilience, and identity. Set amidst the vibrant bustle of a Taiwanese night market in Taipei, the film follows a single mother, Shu-Fen, and her two daughters as they navigate the challenges of a new life while running a modest noodle stand. Tsou’s camera lingers on everyday textures, the sizzle of oil at dawn, neon reflections on wet pavement, and fleeting glances between family members, transforming ordinary moments into intimate reflections on survival, love, and belonging.
Sean Baker’s influence is evident in the film’s raw, slice-of-life aesthetic, but Tsou’s distinct voice shines throughout. Her empathetic touch guides every scene, ensuring the story feels tender, immersive, and deeply human. The daughters, I-Ann and I-Jing, are crafted with nuance: I-Ann wrestles with personal frustrations and family obligations, while I-Jing’s playful curiosity and spirited nature infuse the narrative with joy and chaos. Their interactions with their mother and grandmother form a rich tapestry of generational dynamics, highlighting both the burdens and bonds passed down across women in the family.
Visually, the film is a masterclass in immediacy and atmosphere, bursting with life and energy. The chaotic night market contrasts beautifully with the quieter domestic spaces, mirroring the tension between external pressures and internal reflection. Tsou’s pacing allows each character’s story to breathe, letting subtle gestures, silences, and small rebellions carry emotional weight. Humor and poignancy coexist naturally, creating a sense of warmth and vitality that makes the family’s struggles feel both real and deeply relatable.
Left-Handed Girl is a meditation on identity, autonomy, and quiet defiance. I-Jing’s left-handedness becomes a powerful symbol of individuality, standing against superstition and inherited expectations. Through her small but meaningful acts of choice, the film celebrates courage, self-expression, and the dignity of resisting conformity. Beyond its colorful setting and lively energy, the film is ultimately about the strength found in family, the gentle rebellion required to grow, and the beauty of embracing one’s differences. Tsou delivers a film that is tender, vibrant, and unforgettable and a remarkable debut that leaves the audience both uplifted and reflective.
(This review contains spoilers.)
“If you use the left hand, you're doing the devil's work."
Left-Handed Girl, directed by Shih-Ching Tsou, is a quietly radiant portrait of family, resilience, and identity. Set amidst the vibrant bustle of a Taiwanese night market in Taipei, the film follows a single mother, Shu-Fen, and her two daughters as they navigate the challenges of a new life while running a modest noodle stand. Tsou’s camera lingers on everyday textures, the sizzle of oil at dawn, neon reflections on wet pavement, and fleeting glances between family members, transforming ordinary moments into intimate reflections on survival, love, and belonging.
Sean Baker’s influence is evident in the film’s raw, slice-of-life aesthetic, but Tsou’s distinct voice shines throughout. Her empathetic touch guides every scene, ensuring the story feels tender, immersive, and deeply human. The daughters, I-Ann and I-Jing, are crafted with nuance: I-Ann wrestles with personal frustrations and family obligations, while I-Jing’s playful curiosity and spirited nature infuse the narrative with joy and chaos. Their interactions with their mother and grandmother form a rich tapestry of generational dynamics, highlighting both the burdens and bonds passed down across women in the family.
Visually, the film is a masterclass in immediacy and atmosphere, bursting with life and energy. The chaotic night market contrasts beautifully with the quieter domestic spaces, mirroring the tension between external pressures and internal reflection. Tsou’s pacing allows each character’s story to breathe, letting subtle gestures, silences, and small rebellions carry emotional weight. Humor and poignancy coexist naturally, creating a sense of warmth and vitality that makes the family’s struggles feel both real and deeply relatable.
Left-Handed Girl is a meditation on identity, autonomy, and quiet defiance. I-Jing’s left-handedness becomes a powerful symbol of individuality, standing against superstition and inherited expectations. Through her small but meaningful acts of choice, the film celebrates courage, self-expression, and the dignity of resisting conformity. Beyond its colorful setting and lively energy, the film is ultimately about the strength found in family, the gentle rebellion required to grow, and the beauty of embracing one’s differences. Tsou delivers a film that is tender, vibrant, and unforgettable and a remarkable debut that leaves the audience both uplifted and reflective.
