HongKong and Taiwan

The Age of Independence

The movie shows the multifaceted nature and inherent contradictions of Taiwanese society in the 1990s through the post-graduation minutiae of four college classmates (Molly, Kiki, Ming and Bo).

Molly is in charge of an advertising and cultural company; Kiki is Molly’s best friend and right-hand man; Kiki’s boyfriend, Ming, is a budding civil servant; Xiaobo is a sought-after stage director with a big mouth; Molly’s older sister is the host of the most watched marriage program on TV; and Molly’s brother-in-law is a best-selling author of several romance novels. Molly’s fiancé is a business owner. There are many characters in the movie, and the relationships between them are complex and confusing, and their stories are intertwined together to build a picture of urban life that is both real and meaningful.

With its sharp strokes and cool perspective, the movie is a profound analysis of modern urban life, and has been hailed as “an encyclopedia of the spiritual dilemmas of modern city dwellers”.

1994 / Taiwan / Drama / Edward Yang / Chen Xiangqi Wang Baisen

独立时代

Birdy (Wang Yiming), Molly (Ni Shujun), Kiki (Chen Xiangqi), and Xiaoming (Wang Weiming) are four college friends who are working in different jobs after graduation. Though the degree of their superficial glamor is different, all of them have the embarrassment of the period of identity change (from student to member of society).

The most difficult one is Kiki, who is caught between her best friend Molly and her boyfriend Siu Ming. She can only work hard in secret, hoping that her best friend’s and her boyfriend’s careers and lives can be improved, and that the relationship between the three of them can be improved, but she gets misunderstandings from both sides.

Molly’s brother-in-law (Yan Hongya), after realizing that life is a combination of jokes, turns to Confucius from more than 2,000 years ago. However, when he thinks he has regained his spiritual home, he is met with the same helplessness as Kiki – both of them are recognized to be nothing more than powerful actors with good acting skills.

The absurdities and paradoxes of life are presented, and only when the performance appeals to the hearts of the spectators (the audience) will it be recognized as “real and believable”.

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