Hello, my name's Justin Klu, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club. And today we're continuing our month of talking

about filmmakers from countries that we've never touched upon, even though we've kind of touched

upon Taiwan. Well, we've touched upon it in the sense that there is one China. No, we've touched upon it in the sense that there is one China.

No, we've touched upon it in the sense that Hong Kong actors and directors, often when they're, I would say, like, having difficulty.

When they end up in Taiwan, yeah.

Well, so Taiwan, I guess, is the illegitimate stepbrother of the Hong Kong film industry.

The movies are cheaper. The movies are a little dirtier, a little coochier, a little crazier.

At least their exploitation movies are, because Taiwan has a dual identity.

It also has the Taiwanese new wave.

Yes, which came out in 1982.

Your Edward Yangs, your Hosh Hashens,

your Siming Langs. But when it comes to entertainment, it's like they don't have the resources

all the time that Hong Kong does. So they push things a little bit further. I was actually

reading some articles that, you know, the Taiwanese new wave was kind of championed because

there was a lot of

difficulty with Taiwanese having their own national cinema because Hong Kong films, which

were already established, were the ones that were dominating screen space, kind of like how

America dominates Canadian screen space. You know, it's interesting because the Hong Kong

exploitation movies, or Hong Kong popular cinema, I should say, generally they're a higher

class of movie than the Taiwanese action movies, but Taiwan has a thriving art cinema in a way

that Hong Kong doesn't really. I mean, Hong Kong. Hong Kong has Wongar-Wi, and it has

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