Good Men, Good Women ★★★½

"Today L and I screwed without a rubber. L was knocked out by my frenzy."

the final and weakest chapter of Hou's "Taiwan" trilogy, this is nevertheless a compellingly oblique psychic portrait of national identity, and how it collides and informs personal history. the same could be said about any number of his films, but the way he splits and stratifies *one* woman across time, media, and conflicting histories is fascinating to watch... eat your heart out, CLOUD ATLAS.

also, unpacking the LATE SPRING reference at the beginning of the film should keep me busy for a while (now writing essay on Hou, Ozu, and the misnomer of a "national cinema."

also, it's important that you know that i aborted an ill-conceived "Hou Hsiao-Sheen" Tweet. i mean, someone should know that, and ponder what might have been.