WORLD PREMIERE Saturday and Sunday, March 25th & 26th 10:30 AM - 4:30 PM @ Claudia Cassidy Theater at the Chicago Cultural Center (78 E. Washington Street)


Directed by award-winning directors: Chang Ying, Li Hsing, Chan Hung-lit, Hou Hsiao-hsien, Ko I-chen, Yee Chih-yen.

Free screening (shown @ 10:30 AM; 12:30 PM and 2:30 PM daily.  Each film shown once only).

Synopsis: “Goddesses in Taiwan Cinema” is a digitally restored retrospective of six (6) titles starring legendary leading Taiwanese actresses, Pai Hong, Zhen Zhen, Brigitte Lin, Feng Fei-fei, Su Hui-lun & Kuai Lun-mei during the 1960's through the early 21st century. Co-presented with Taiwan Cinema Toolkit and Department of Cultural Affairs & Special Events, featured films include: The Best Secret Agent (Secret Agent Heaven No. 1), The Young Ones, Cloud of Romance, Cheerful Wind, Blue Moon, and Blue Gate Crossing

We thank Taiwan Cinema Toolkit, Department of Cultural Affairs and Special Affairs, White Hall Hotel and BMO Harris Bank for their support in making GODDESSES IN TAIWAN CINEMA free and open to the public.

For full Director's Bio on each of the following films, please click the following link:

Day 2 March 26th:

10:30 AM Cheerful Wind ( 風兒踢踏踩 )

1981 ∣ 91min ∣ Colour

Directed by Hou Hsiao-Hsien

Starring Feng Fei-Fei

Synopsis: Hsing-Hui works as an assistant cameraperson for advertisement director Luo-Tzu, whom she has been keeping at arm’s length in the face of his romantic pursuit. In a chance encounter, Hsing-Hui meets doctor Chin-Tai; they fall in love and agree to see each other again after Chin-Tai’s surgery. Meanwhile, Luo-Tzu has not given up his pursuit of Hsing-Hui and plans to fulfill her dream of visiting Europe. Caught between dreams and love, Hsing-Hui makes a very astonishing choice.

Cheerful Wind was produced by Chiung-Yao, author of the original novel. Through scenes of everyday life, director HOU Hsiao-Hsien effortlessly illustrates the interactions and inner feelings of the male and female leads. Despite adopting the form and style of a mainstream film, HOU employs a narrative approach that nonetheless offers a true reflection of the society of the time.

12:30 PM  Blue Moon ( 籃月)

1997 ∣ 97min ∣ Colour

Directed by Ko I-Chen 

Starring Su Huei-lun

Synopsis: A “blue moon” refers to something that happens once in a lifetime or a second full moon in the same calendar month. Cuen-Shu and A-Gua, classmates who grew up together, both end up falling for Yi-Fang, a girl they met while playing softball. On a blue moon evening, the three protagonists head to the Blue Moon Cafe to untangle their love triangle. Facing a difficult choice and not knowing what she wants, how will Yi-Fang come to a decision?

Blue Moon is headlined by fresh-faced actress Tarcy Su, who delivers a vivid portrayal of a city-dwelling woman’s yearning for love. The script is split into five acts, each denoted by a different colour: red, orange, yellow, green and blue. Due to the film’s nonlinear narrative design, the five acts can be freely arranged in any order every time the film is screened. With a total of 120 possible combinations, this is a film experience that allows audiences to explore the uncertain and ever-changing nature of life.

2:30 PM Blue Gate Crossing  (籃色大門) 

2002 ∣ 83min ∣ Colour

Directed by Yee Chih-Yen 

Starring Kuai Lun-mei

Synopsis: “Should you give your first kiss to the boy who likes you or the girl you like?” Meng Ker-Rou and Lin Yue-Zhen are high school friends who can talk to each other about everything and anything. On the school grounds one early summer, Yue-Zhen develops a crush on the charming Zhang Shih-Hao, and asks Ker-Rou to help her pass on a love letter to him. Ker-Rou is furious upon discovering that the letter was actually written in her name, but by then, Shih-Hao had already madly fallen in love with her.

Director Yee Chih-Yen avoided symbols commonly seen in Taiwan New Cinema films, such as military dependents' villages and old houses, instead focusing on the innocent and simple love of young people and their exploration of sexual and self-identity. Adopting a refreshing and aesthetically pleasing style and employing the use of simple images and language, the film is said to have opened the doors for the growth of youth-oriented films in Taiwan.

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