Taiwanese cinema didn’t really get going until 1949 with the establishment of the Republic of China (ROC). The 1950s and 60s saw the rise of the “Healthy Realism” movement, which focused on uplifting stories and social issues, often with a propagandist slant that supported the government’s agenda. This era was significant for laying the foundation of the Taiwanese film industry, even though it was heavily censored and controlled by the state.

The 1980s marked a turning point in Taiwanese cinema with the emergence of the New Taiwanese Cinema movement. This period was characterised by a break from traditional studio systems and an embrace of more independent, realistic storytelling. Directors such as Hou Hsiao-Hsien and Edward Yang became prominent during this era, gaining international recognition for their work. Hou’s films, like “A City of Sadness” and “The Puppetmaster,” are known for their aesthetic beauty and contemplative storytelling, exploring Taiwan’s history and identity. Edward Yang’s “Yi Yi” and “A Brighter Summer Day” are considered masterpieces, offering intricate narratives that delve into the complexities of modern Taiwanese life. 

Directors like Tsai Ming-Liang and Ang Lee have further elevated Taiwanese cinema’s global status. Tsai’s works, such as “Vive L’Amour” and “The Wayward Cloud,” are known for their minimalistic style and exploration of urban alienation. Ang Lee, perhaps the most internationally recognised Taiwanese director, has created a diverse portfolio ranging from the martial arts epic “Crouching Tiger, Hidden Dragon” to the intimate drama “Brokeback Mountain.”