Most small and medium-sized cost table bends even had a box office of around NT$10 million in 2014, and almost all suffered heavy losses.

Among them, only Zhao Deyin's "Ice. Poison" soldier made great contributions. Due to his low budget, the copyrights sold in various countries alone were almost recycled.

Although many people have always disagree that box office determines life and death, the box office results of the 2014 Taiwan movies are indeed not particularly impressive.

When Kang Kang said this, he sighed a little. He was very optimistic about the film industry and wanted to enter this industry. As a result, as soon as he stepped in, he caught up with the low point of the entire market.

In recent years, Taiwan Movies seem to have increased production volume, talent has poured in, and new directors are in full swing. Every year, newcomers who have made feature films for the first time have been involved in the film, but in fact, there are only a handful of good works that can have a certain level or above.

In 2014, Hou Hsiao-hsien's "Nie Yinniang" was still only heard of the stairs, and Chang Ai-hsien's "Nian Nian" was confirmed to be postponed until 2015. Fortunately, Cai Mingliang's "Outlook" broke the general form of commercial film screening, so that the Taiwanese film market will not have any major works to support the stage for the whole year.

After the other "new movies" of Taiwan, several senior directors who started their creative careers in the 190s also launched new works in 2014, including Yi Zhiyan's "Action Codename Sun Zhongshan", Li Gang's "Want to Fly", and Wan Ren's "Car Fight", with different results.

Taiwan directors are increasingly seeking cooperation from mainland China. In 2014, there were several "co-productions" with the Taiwan crew as the main force and stayed in Taiwan to film, but their fates were very different.

For example, "The Army, the Le. Garden" has limited box office results, but it has the highest chance in mainland China; the sequel "The Heroes of the Pig 2" directed by Cai Yuexun has been adjusted to become more popular. The production route of mainland audience taste development is indeed in mainland China. The box office results in mainland China are good, but instead lowering the Taiwan market to the secondary.

John Woo's "The Wheel of Peace: A Life in Troubled Times" and Luc Besson's "Lucy" were also filmed in Taiwan. It caused a topic, but the former only accumulated a box office of NT$53 million, while the latter exceeded NT$380 million in one fell swoop, and ranked second in the annual total box office list of Taiwan.

More and more crews considering Taiwan filming, Martin Scorsese's new work "Silence" is expected to come to Taiwan to shoot in the spring of 2015. Perhaps, this is another new way out for Taiwan's local production industry.

Kang Kang introduced. Faced with the Taiwan movies that have been a whole year, "Out" is not only the best in artistic achievements, but also obviously put other movies behind them. It is also the most unique "form" film in the Taiwan movies officially released in 2014. Director Cai Mingliang originally did not want it to be released in theaters in the regular way. Later, he arranged 50 limited-edition screenings in a few theaters across Taiwan in a compromise manner. As a result, the tickets were a very popular one. It became a popular since the pre-sale, and it was almost sold out. After half a year, he used photos, light, projection, installation art, plus the screening of two films, "Out" and another interview documentary "That afternoon", to hold a special exhibition of "Out" "Out" at the Art Museum" in Taibei City, which found a new and other posture that can be appreciated by the public.

"Outlook" is the tenth feature film directed by Cai Mingliang. This time, Li Kangsheng changed from "Youth Nezha" that was idle in Ximen Town to the father of two children. He was a temporary worker who held signs for real estate advertisements on the street and had no choice but to linger in the glamorous hypermarket. The English title is "Stray Dog", which seems to be a symbol of a certain living state of a family of three. It is also the Jiguang Pianyu that does appear in the film. The film is full of "home"

The image of the play, and it is a dense and tangible emergence. In the past, the family formed by Li Kangsheng, Lu Yijing, and Miao Tian in Cai Mingliang's movies seemed to evolve from the ending of Miao Tian like a ghost in "What time does it matter" and the plot of "Face" where the mother died and was reluctant to leave, to the continuation of the next generation of families. "Highly Kang" became a "father". As for the physical home, it became a ruin, even like the entire distorted and changed Taibei City.

Cai Mingliang's movies are often slow. But in performances that do not seek speed, we seem to be able to detect the endless threads of life and see the cruel marks of time passing by in seconds. Li Kangsheng's face writes about the vicissitudes, and his performance is more like accumulating and bursting over twenty years of skills, which no one can match. Even the Taipei and the North have gone from Yang Guimei's crying in "Long Live Love" to Li Kangsheng. Chen Xiangqi stared at the mural on the wall calmly. The same tears, the crying back then and the tears without expression at the moment are accumulated. The accumulation of years and life experiences is indeed the colorless but extremely critical element in Cai Mingliang's movies, just like water is to the human land, silent and critical. "Outlook" has become one of the most unforgettable movie-watching experiences for everyone in the whole year.

Zhao Deyin, who came to Taiwan from Myanmar to study and filmed, had an experience similar to Tsai Mingliang's experience from Ma, West Asia to Taiwan from International Red and returned to Taiwan from International Red. "Ice. Poison" is his third feature film, but it has increased the progress and maturity from the first two. He once again focused on the Thai-Myanmar border that regards Taiwan as a blessing in saving money, capturing those who break through national boundaries, racial barriers, and struggle hard to struggle for basic needs of life.

"Ice.Tox" seems to have almost no plot directly related to Taiwan; but the charming realistic charm of controlling the characters and environment in the film, it is difficult not to smell the inheritance smell that has been falling from the new Taiwan movies. This time, Zhao Deyin showed a more accurate and proficient scene scheduling and editing rhythm, allowing every scene in "Methodox" to reach the fullness of the dramatic effect in limited resources. Zhao Deyin proved that a good movie does not have to cost a lot of money. The most important thing is to keep practicing and improving from the work, and gradually get rid of the awkwardness of novices and brew a skillful author style. He is definitely an important figure who attracts continuous attention on the road to Taiwan movies.

Niu Chengze's "Military, Intermediate, Music, Garden" has also become his most mature and generous work since "The Way of Survival". If you briefly interpret it, it is the growth history of a young Bingge. Through the vision and experience of the army, it can be touched from human life and death to physical health. It is also a macro and microcosm of political and political nature, looking down on Taiwan's fate, absurd, helpless, and pitiful. It seems to be history, but it seems to have never been explained. To put it bluntly, Niu Chengze describes the era when you and I were once familiar with or unfamiliar. On the island surrounded by the sea (Jinmen or Taiwan?)

, No one has real freedom and happiness. Under the twisted rules of the game, each character chooses to use violence and deception to protect himself. Niu Chengze shot the most visionary and mature report card since his film. In addition to the big propositions, he not only retains the popular drama elements and dramatic charm that he is good at, but also achieves a soothing and resonant effect in the transformation and fusion of narratives. Even though Niu Chengze's original intention was to tell a tragic song of the times to his father and generation, he still shot a pattern that exceeded his personal feelings, making "Military. Middle. Le. Garden" a representative work of Niu Chengze.

Wan Ren, one of the new Taiwan movies, also released the long-lost new film "Car Fighting". This movie continues Wan Ren's usual criticism of political, political and historical themes, but this time it changed course and presented it in a comedy. The girl in Taiwan fell in love with mainland youth and finally brought her parents and elders to propose marriage. However, due to cultural differences, it became a cross-strait language, concept, and in-laws that turned into enemies. To be honest, the subject matter and technique are not new, and only sporadic highlights and moving moments are left. There is almost no surprise. Another similar work is Li Gang's "Thinking"

"Flying" describes the struggle and growth of students in the empty school in the face of love and chasing their ideals. Li Gang jumped from the producer and served as director. His intention to make an epic inspirational blockbuster is obvious, but in fact, the thunder is loud and the rain is small. Talk about love is too "pure love" and lacks a turning point; filming flying and air combat is like a bluff, without any real conflict crisis. This is a plain and flat movie that almost has no "ups and downs". It seems that the retro combination of two types of Taiwan, Military, Education and Qiong Yao movies in the 1970s reappears, and does not shine with surprise sparks.

Yi Zhiyan's "Action, Action, Chronicle, Sun Zhongshan" is a feature film that he finally completed again since one of the three-part movies "If Love" in 2005, but has become an alien to Taiwan movies. Its appearance looks like a youth campus film that everyone loves to shoot now, and it looks realistic. The result is extremely stylized; the theme is solemn, but it unexpectedly has comedy sparks. The protagonist of the story is two high school students who fell in love with the bronze statue of Sun Zhongshan, who has been covered in dust in the school's storage room for a long time, and wanted to move it away and sell it to cash. Yi Zhiyan turned the story of stealing the bronze statue into a fable. Two male protagonists who came from auditions

The director clearly has a bit awkward in his performance, but the director makes good use of their temperament and makes the whole movie a deliberate and simple. Those "stupid" lines that are constantly repetitive, made people feel stiff and difficult at first, but later, they seem to be a sarcastic rebellion again and again. It is a work that looks much more layered inside than on the outside, but between laughter and scolding, it conveys an extremely heavy message - the gap between the rich and the poor. Rather than saying that Yi Zhiyan is filming teenagers, the author thinks that the faces hidden behind those "beautiful girl masks" are actually sensible and ashamed adults.

Several directors who only started filming their first feature films after the "New Wave" of Cape Seven in 2008. In 2014, they launched new works that were different from their previous works, trying to find a balance between embracing the audience and personal style.

"Sweet Killer" is Lian Yiqi's second feature film. He has been dormant from behind the scenes for many years. He has a different flexibility than that of ordinary young directors. He always strives to break through in the rare genre traditions of Taiwan. This time, "Sweet Killer" plays a compound attempt by suspense police and gangsters and enemies comedy. From a little bit of trivial matter of a puppy eating chocolate, he accidentally made a big case that is highly anticipated. Ariel Lin and Su Youpeng each play two policemen who deliberately change their stereotyped gender images and do not know each other, one is too serious and the other is sluggish, forming a contrast. The film's tone is relaxed and humorous, and there is also an exaggerated sarcasm. Although the suspense of the plot arrangement is too simple, many imaginative plot designs can still see Lian Yiqi's unique personal style.

From "Flying Against the Light" to "Accomplice", Zhang Rongji's changes have become even greater. "Accomplice" describes three boys in high school who accidentally form an alliance because they encounter a girl in the same school corpse and are lying in an alley. However, because of another accident, the secrets and shadows of the three people under different personalities are gradually revealed. The film's photography and image style are prominent, and the atmosphere is controlled accurately, but in comparison, it reveals the insufficient complexity of the plot and the character sculpture.

Yu Zhuoli's "Bai Rice Bombs and Guests" has great courage and idealism in the theme, describing the famous Yang Ru family case in Taiwan that year. He used his homemade small bombs to protest to the government against the harsh environment of rice and farmers. The film only creates the tragic power of the characters themselves due to real events. The plot is too trivial and scattered, and the characters on the side are also uneven. It is a work with a more topical nature than the quality of the movie itself.

Chen Hongyi's "Seven Designs of Love" story revolves around a design company, forming the main interpersonal network of the film, indirectly describes workplace struggles, generational differences, laughing at the superficiality of the rich second generation, mocking the essence of the design industry, and doubting the authenticity of love. The most important thing is to focus on the word "design", because everything is calculated. The movie starts with Taiwan/Beijing City's joke of the world's design capital in 2016, and occasionally inserts special effects shots of sudden changes in the city landscape. Chen Hongyi obviously cares about not only the love, hate, and hatred of the protagonists in the film, but how the environment has unknowingly produced changes that you and I have unexpectedly. There is no small freshness.

, not as funny as the local funny, full of cynical ridicule of intellectuals, but also boldly criticizes dissatisfaction with reality and anxiety about the future. This film makes the author unable to help but think of Yang Dechang and Chen Hong's fascination with the city and the corresponding panic have almost become the theme that has emerged repeatedly in all his works along the way. Of course, this new work is not perfect, and some parts are too plain and have the old problem of adding to the snake, but its courage and vision are both exciting. Between narrative and discussion, laughter and scolding, no matter whether you like it or not, you cannot deny the indisputable fact that it wrote a new look for the Taiwan movie. (To be continued, please search for astronomy, novels are better and faster!
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