It’s horrifying to see Yu-mei, for all her ability and excellence, tiptoe around the rough, narcissistic Hsiang, and the film suggests, in adapted yet obvious style, the toll that it tackles her innovativeness and prosperity. She’s likewise spooky by uncertain hatred toward her mother, who took her to Taipei, abandoning Yu-nan. Still brilliant following a six-year break from acting, Leong (“Isabella,” ” Murmur of the Hearts”) conveys a developed and insightful sensibility to her execution.
It’s difficult to envision any bloke would lean toward getting punched in the eye to getting laid with the goddess-such as Yu-mei, however Hsiang, as well, had an awful youth, loaded by the unimaginable desires of his mariner father. Generally as Yu-mei’s mental issues is reflected in her forceful new painting style, so Hsiang’s otherworldly disease uncovers itself in his coming up short visual perception and losing streak. While Joseph Chang has sharpened his noiseless, touchy picture in various sentimental weepies and closeted gay parts (“The Stolen Years,” “Sweetheart, Boyfriend”), generally as in “Soul”, he shows an annoying dim side, yet still evokes sensitivity for his torment and battle. Hsiang’s wounding yet delicate association with his mentor (Wang Shih-hsien, sublime) powerfully emphasizes his requirement for a surrogate father.