THE STORY – A single mother and her two daughters return to Taipei after several years of living in the countryside to open a stand at a buzzing night market. Each, in their own way, will have to adapt to this new environment to make ends meet and succeed in maintaining the family unity.
THE CAST – Janel Tsai, Shi-yuan Ma & Nina Ye
THE TEAM – Shih-Ching Tsou (Director/Writer) & Sean Baker (Writer)
THE RUNNING TIME – 109 Minutes
Sean Baker’s fingerprints are unmistakably all over “Left-Handed Girl,” yet they never overshadow the distinct voice of his close friend and collaborator Shih-Ching Tsou (co-director of Baker’s first film “Take Out”), who confidently steps into the director’s chair for the first time solo. As co-writer, editor, and producer, Baker’s influence is evident in the film’s raw aesthetic and slice-of-life storytelling. However, Tsou’s delicate, deeply empathetic touch truly defines this intimate portrait, creating a film that feels like it comes from the very DNA that gave us movies such as “Take Out” and “The Florida Project.”
Set amidst the sensory overload of a Taiwanese night market in Taipei, the film follows a resilient mother (Janel Tsai) struggling to keep her modest noodle stand afloat. Around her swirls a lively tapestry of female relatives, each bringing their own quirks and complexities. At the center of this family dynamic is I-Ann (Shih-Yuan Ma), the eldest daughter working at a beauty center, where she engages in a sexual relationship with her married boss while quietly wrestling with her mother’s decision to care for an estranged, ailing father. Her simmering frustration is reflected in her younger sister, I-Jing (the adorable Nina Ye), a spirited child whose playful escapades infuse both joy and chaos into their lives. However, her innocent perspective sometimes minimizes or exaggerates the internal struggles she faces as she discovers the world.
Beneath its lively exterior, “Left-Handed Girl” reveals itself as a poignant exploration of the silent burdens carried across generations of women. Tsou crafts a multi-generational portrait where each woman’s choices ripple through the others: the mother’s resilience, I-Ann’s wild rebellion, I-Jing’s naive look at life, and the grandmother’s steadfast presence as a pillar quietly bearing the weight of family history. The film skillfully captures how their lives intersect, clash, and ultimately find moments of understanding despite unspoken tensions.
The film’s title is far more than a simple nod to I-Jing’s use of her left hand — a habit her grandfather insists she must abandon, deeming it the “hand of the devil.” This superstition evolves into a quiet source of shame and self-doubt for I-Jing, with each mishap becoming a moment when she questions if her left-handedness is to blame. Her struggle evolves into a powerful metaphor for identity as an early burden, and her choice, whether by mistake or design, to continue using her left hand becomes a subtle act of rebellion against inherited guilt and misplaced blame.
Tsou’s direction shines through the authentic portrayal of characters and their dynamic interplay. Her skill in working with actors is evident as even the supporting cast radiate distinct personalities. This is not merely a film populated by women, but one that gives each character a voice, no matter how brief their screen time. Shot entirely on an iPhone, the film transforms what could have been a limitation into a unique strength. The saturated colors and energetic framing drop the audience into the chaotic beauty of the night market, creating a sense of immediacy and intimacy that perfectly complements the narrative’s blend of humor and poignancy.
While eliciting laughter, “Left-Handed Girl” never shies away from the challenging realities of generational struggles, cultural expectations, and the sacrifices women make. The film is a vibrant portrait of resilience, anchored by a remarkable cast and featuring one of the most vivid child performances captured recently. Beyond its warm humor and energetic pace, it stands as a story of quiet defiance and gentle rebellion and a massive moment for Shih-Ching Tsou as a filmmaker.
