Feng gui lai de ren (All the Youthful Days) - Movie Reviews - Rotten Tomatoes

Feng gui lai de ren (All the Youthful Days) Reviews

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September 9, 2014
This movie just resonated highly with me. The minimalist approach and attention to detail was top notch and I liked the whole idea of growing up and moving on to different (though not always better) things in life. It's about moving forward, even when time seems to be stuck in a rut. A very simple and understated film.
August 22, 2010
(****): Thumbs Up

A great early work of Hou Hsiao-Hsien and another fantastic coming of age movie. A great film.
October 15, 2009
Hou's first and very much carreer defining collaboration with great screenwriting partner Chu Tien-wen is a tentative step away from the conservative so called healthy realism of the Xin dianying movement in Taiwanese cinema. In Fenggui lai de ren Hou uses the bridging gaps between generations and the increasing migration into the cities as a springboard for his contemplations on social distances in modern Taiwan. Hou's style is of course merely in it's infancy here but still recognizable, even if his distinctive shots from distance appear to have been born out of simple consideration for the cast, making their acting appear less amateuristic than it would up close. In short, a very fine celebration of youth.
July 8, 2009
The greatest coming of age film ever. So incredibly evocative and resonant. Even though this is usually considered Hou's first mature work, a lot of his later contemporary films such as Millennium Mambo are clearly rooted in this.
April 22, 2009
Hou's movie is always pervaded by nostalgia for a past age. his typical style is extended long takes and a fixed-camera angle that heightens the sense of real time. the film depicts the social and economic changes taking place in postwar Taiwan as reflected in the lives of ordinary working class teenagers and the joy and pain of their growing up.
December 25, 2008
The style and construction of this film has become quite fashionable in the past 10 years or so, especially in East Asia. Young filmmakers all want to take long shots and pull elegant camera moves on delinquents - who often do unattractive things and get into interesting troubles. What is this fascination with delinquents? Is it because they are more likely to get into scenarios where the visuals can be appealing? Maybe the tradition already existed in Italian Neo-Realism. Imagine I Vitelloni made by Antonioni, as one of my favorite critics wrote. That said, Hou Hsiao-Hsien actually lived like on of these boys in his youth. As a consequence, no one tells such stories as well as he does, and of course this is a wonderful film, easy on the eyes and immeasurably watchable. Moreover, if a film can influence Jia Zhang-Ke, it must be great, no?
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