Facing Fear Directly, Director Tsao Shih-Han Wishes Taiwanese People to Become Themselves in Freedom
Taiwanese director Tsao Shih-Han's first feature film, 'Southern Time,' was screened at the Paris Taiwan Film Festival. He discussed his creative motivation behind the 'corporal punishment scene' in the film, hoping that the fear inherited from authoritarianism can stop with the next generation, allowing Taiwanese people to become themselves in freedom.
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Paris, May 9 (CNA reporter Li Ruo-yun) — Taiwanese director Tsao Shih-Han's first feature film, 'Southern Time,' was recently screened at the Paris Taiwan Film Festival. He discussed his creative motivation behind the 'corporal punishment scene' in the film, hoping that the fear inherited from authoritarianism can stop with the next generation, allowing Taiwanese people to become themselves in freedom.
'Southern Time' is Tsao Shih-Han's first feature film. The story, from the perspective of a young boy, looks back at a family story in Kaohsiung during the Cross-Strait Missile Crisis, just before Taiwan's first presidential direct election in 1996. 'Authority' and 'Freedom' are the film's central themes, metaphorically presented through the actors' physical performances.
In an exclusive interview with CNA, Tsao Shih-Han mentioned that during a previous screening in Spain, when the 'corporal punishment scene' in the film showed a teacher hitting a student with a stick, nearly 200 audience members also flinched. He said: "Many European audiences cannot understand how corporal punishment can exist in education or families? Because everyone's body should be their own."
Tsao Shih-Han stated that when he attends international film festivals, he often observes that Asians and Taiwanese find it difficult to relax their bodies. This is because Confucian thought always teaches: "Our body, hair, and skin are received from our parents." He said: "As Taiwanese, I feel that our bodies are not our own, but belong to our parents and to the state; we are never individuals, but elements that make up a group."
Tsao Shih-Han also wrote the screenplay for this film. He hopes to discuss 'fear' through this corporal punishment scene, a fear that originates from 'control,' passed down from the authoritarian era to society, schools, and even families. Because the purpose of corporal punishment is to make the other person feel pain and shame, so they dare not resist again. He hopes that through this film, the audience can face fear directly and let fear stop with the next generation.
'Southern Time' is set against the backdrop of the eve of Taiwan's first direct presidential election in 1996. At that time, Taiwan had bid farewell to an agricultural society and was struggling through the Asian financial crisis. He uses the middle-class family of the young boy in the film as an example to show the Taiwanese people's eagerness to demonstrate their ability to raise their social status as they embraced democratic development.
For this reason, 'Southern Time' mostly uses steady wide-angle shots, allowing actors to move through the scenes, performing with their whole bodies. The suppressed physical emotions, contrasted with exquisite decor, are like a trapped beast's struggle; among them, pianos, heavy motorcycles, and cars also reflect the aspirations of the era.
Tsao Shih-Han explained that in Taiwanese families in the 90s, owning a piano represented capability and taste; however, when the family's finances encountered difficulties, the piano might be the first item to be sacrificed.
Tsao Shih-Han said: "The middle class has a desire to work hard to climb up, to strive for another level; but at the same time, they fear falling down, the insecurity of returning to a lower level."
Stock market crashes, disputes over real estate projects, company bankruptcies, partners absconding with funds – 'Southern Time' truthfully portrays the struggles of the middle class in the 90s. Tsao Shih-Han stated that perhaps having witnessed his parents' experiences from a young age made him feel nihilistic when viewing the world; he would question the meaning of things, ponder if lies might be more real, and resist this unjust world through his work.
'Southern Time' was the opening film for the 2026 'Paris Taiwan Film Festival,' and Tsao Shih-Han was the featured filmmaker for this edition. In addition to this film, three of his short films were also screened, with the event concluding on April 10, supported by the Ministry of Culture.
The opening day featured a post-screening discussion hosted by French film critic Jean-Michel Frodon, who affirmed that the film carried the colors of Hou Hsiao-Hsien and the New Taiwan Cinema. Parisian audiences were curious about the buffalo imagery in 'Southern Time.'
Tsao Shih-Han explained that 'Southern Time' presents how, after Taiwan ended authoritarian rule in 1996, society still harbored fear and unease. The agricultural era crossed at that time, like the 'buffalo,' for him, actually symbolizes the resilience of Taiwan most effectively.
Tsao Shih-Han explained that the buffalo appears three times in the film: the first time it is constrained, symbolizing suppression; the second time it appears in a dream, metaphorically representing the illusion of direct presidential elections and moving towards freedom and democracy at that time; the third time defines openness, and he expects the audience to interpret it individually.
Tsao Shih-Han said that he is unsure whether freedom and democracy are truly real, but as human beings, being able to express oneself freely without fear or self-censorship is a crucial element for Taiwanese people to truly 'become themselves.' (Edited by Hsieh Yi-hsuan) 1150510
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'Southern Time' is Tsao Shih-Han's first feature film. The story, from the perspective of a young boy, looks back at a family story in Kaohsiung during the Cross-Strait Missile Crisis, just before Taiwan's first presidential direct election in 1996. 'Authority' and 'Freedom' are the film's central themes, metaphorically presented through the actors' physical performances.
In an exclusive interview with CNA, Tsao Shih-Han mentioned that during a previous screening in Spain, when the 'corporal punishment scene' in the film showed a teacher hitting a student with a stick, nearly 200 audience members also flinched. He said: "Many European audiences cannot understand how corporal punishment can exist in education or families? Because everyone's body should be their own."
Tsao Shih-Han stated that when he attends international film festivals, he often observes that Asians and Taiwanese find it difficult to relax their bodies. This is because Confucian thought always teaches: "Our body, hair, and skin are received from our parents." He said: "As Taiwanese, I feel that our bodies are not our own, but belong to our parents and to the state; we are never individuals, but elements that make up a group."
Tsao Shih-Han also wrote the screenplay for this film. He hopes to discuss 'fear' through this corporal punishment scene, a fear that originates from 'control,' passed down from the authoritarian era to society, schools, and even families. Because the purpose of corporal punishment is to make the other person feel pain and shame, so they dare not resist again. He hopes that through this film, the audience can face fear directly and let fear stop with the next generation.
'Southern Time' is set against the backdrop of the eve of Taiwan's first direct presidential election in 1996. At that time, Taiwan had bid farewell to an agricultural society and was struggling through the Asian financial crisis. He uses the middle-class family of the young boy in the film as an example to show the Taiwanese people's eagerness to demonstrate their ability to raise their social status as they embraced democratic development.
For this reason, 'Southern Time' mostly uses steady wide-angle shots, allowing actors to move through the scenes, performing with their whole bodies. The suppressed physical emotions, contrasted with exquisite decor, are like a trapped beast's struggle; among them, pianos, heavy motorcycles, and cars also reflect the aspirations of the era.
Tsao Shih-Han explained that in Taiwanese families in the 90s, owning a piano represented capability and taste; however, when the family's finances encountered difficulties, the piano might be the first item to be sacrificed.
Tsao Shih-Han said: "The middle class has a desire to work hard to climb up, to strive for another level; but at the same time, they fear falling down, the insecurity of returning to a lower level."
Stock market crashes, disputes over real estate projects, company bankruptcies, partners absconding with funds – 'Southern Time' truthfully portrays the struggles of the middle class in the 90s. Tsao Shih-Han stated that perhaps having witnessed his parents' experiences from a young age made him feel nihilistic when viewing the world; he would question the meaning of things, ponder if lies might be more real, and resist this unjust world through his work.
'Southern Time' was the opening film for the 2026 'Paris Taiwan Film Festival,' and Tsao Shih-Han was the featured filmmaker for this edition. In addition to this film, three of his short films were also screened, with the event concluding on April 10, supported by the Ministry of Culture.
The opening day featured a post-screening discussion hosted by French film critic Jean-Michel Frodon, who affirmed that the film carried the colors of Hou Hsiao-Hsien and the New Taiwan Cinema. Parisian audiences were curious about the buffalo imagery in 'Southern Time.'
Tsao Shih-Han explained that 'Southern Time' presents how, after Taiwan ended authoritarian rule in 1996, society still harbored fear and unease. The agricultural era crossed at that time, like the 'buffalo,' for him, actually symbolizes the resilience of Taiwan most effectively.
Tsao Shih-Han explained that the buffalo appears three times in the film: the first time it is constrained, symbolizing suppression; the second time it appears in a dream, metaphorically representing the illusion of direct presidential elections and moving towards freedom and democracy at that time; the third time defines openness, and he expects the audience to interpret it individually.
Tsao Shih-Han said that he is unsure whether freedom and democracy are truly real, but as human beings, being able to express oneself freely without fear or self-censorship is a crucial element for Taiwanese people to truly 'become themselves.' (Edited by Hsieh Yi-hsuan) 1150510
Choose to stand with facts, every sponsorship is a force to protect press freedom.
Download CNA's "Firsthand News" APP to stay updated with the latest news.
The text, images, and videos on this website may not be reproduced, publicly broadcast, publicly transmitted, or utilized without authorization.