Shih-Ching Tsou Makes Her Directorial Debut on “Left-Handed Girl”

We remember Sean Baker and his sweep at the Oscars in 2024 with Anora. He’s back with Taiwanese-American filmmaker Shih-Ching Tsou who produced Baker’s films Red Rocket and The Florida Project in her directorial debut Left-Handed Girl. The film marks the official Taiwan Oscar submission.

Left-Handed Girl is a deep and vibrant exploration of the lives of determined three women — a single mother Shu-Fen (Janel Tsai)  and her two daughters I-Ann (Shih-Yuan Ma) and I-Jing (Nina Ye) — surviving the obstacles of life in a patriarchal society in Taiwan. Set against the backdrop of a bustling Taipei night market, the film excavates themes of identity, and familial unity.

The story follows a young girl, born left-handed — the devil’s hand – a trait her superstitious grandfather deems unlucky. With compelling storytelling and naturalistic visuals shot entirely on an iPhone 13 Pro Max, Left-Handed Girl serves as a love letter to Taiwanese culture and the strength of women fighting for agency and respect amid their daily struggles.

We dive into the creative minds behind the film, director/ co-writer/ producer Shih-Ching Tsou and editor/ co-writer/ producer Sean Baker. Through their insights, we gain a greater understanding of the film’s themes, the challenges of production, and the powerful message they hope to convey.

The Journey of Creation

Left-Handed Girl is Taiwan’s official submission for Best International Feature at the Academy Awards, and its journey began with a vivid conversation between Shih-Ching Tsou and Sean Baker.

Tsou explains, “From the very beginning, when I shared this idea with Sean, I expressed my desire to make it a story about women — exploring how they survive in a male-dominant society, how they support one another, how they fight, and how they grow together. That’s the central theme of the film.”

Baker strategically highlighted the significance of focusing on strong female characters, stating, “We have three main characters — a mother and her two daughters at different life stages: one is a 21-year-old, and the other is the six-year-old.” This focus on multi-generational dynamics adds layers to the narrative, allowing viewers to engage with each character’s experiences.

Shih-Ching Tsou, Sean Baker and Nina Ye. Photo courtesy of Netflix

A Passion Project Decades In The Making 

The collaboration between Tsou and Baker spans over two decades. However, Left-Handed Girl stands out as a passion project conceived many years. Baker recounts, “Actually, it was the first idea we discussed back in 2001. I found all of Shih-Ching-Ching’s stories about her childhood and upbringing in Taipei fascinating. When she took me to Taiwan, I fell in love with it, especially with the vibrant city of Taipei. The night markets were like sensory overload  — filled with sounds, smells, and sights. I saw those night markets almost as a character in the film.”

Financing a project — especially one that leans so heavily on deeply personal storytelling — can be a considerable challenge in the film industry. Yet for Tsou and Baker, their determination to bring Left-Handed Girl to life never wavered. Tsou articulates, “Getting financing took quite a while, but we always knew there was something special and personal about this project for me. It was my love letter to Taiwan, and we never wanted to let it go, even when it went onto the back burner for a bit.”

Left-Handed Girl. (L-R) Shu-Fen (Janel Tsai), I-Jing (Nina Ye) and I-Ann (Shih-Yuan Ma) Photo courtesy of Left-Handed Girl Production

Filming on an iPhone 13 Pro Max: Innovation in Low-Budget Filmmaking

Left-Handed Girl was shot entirely on an iPhone, a choice that presented both opportunities and challenges. The decision to utilize a smartphone for filming spoke to a resourceful indie-filmmaking approach.

Tsou explains, “It was essential from the beginning for me to shoot in a real night market and to work with stars I discovered myself.” The flexibility of using an iPhone allowed them to capture natural interactions within the vibrant chaos of the night market — a setting integral to the film’s narrative.

Baker echoes Tsou’s sentiments, “Once you see the film, it feels incredibly immersive. I’ve been to that exact night market where we shot, and truly, the only thing missing in the film is the smell of food wafting through the air.”

However, filming in such an uncontrolled environment brought a set of challenges. Tsou shares her experience, “We had to be quick, and we couldn’t always control the environment. Shooting on an iPhone also meant finding creative solutions to lighting and framing. Yet, the spontaneity of our approach became one of the film’s strengths.”

A Collaborative Atmosphere: Building Trust on Set

One of the film’s strengths lies in the collaborative atmosphere that Tsou fostered throughout the production process. Drawing from her extensive experience as a producer, she placed significant emphasis on creating an environment where creativity could flourish. “From the very beginning of this project, during the writing phase, and through preparation, I utilized everything I learned from my past productions. I placed considerable effort into finding the right crew to work with in Taiwan and casting talented actors. Taiwan has so many wonderful actors, and as a first-time director, I felt a responsibility to create an open environment for them to contribute creatively,” Tsou explains.

Baker praises the trust Tsou built on set: “The trust that you built through your years of collaboration in producing really shone through. It allowed you to foster an amazing creative atmosphere on set.” This trust encouraged actors and crew members to take risks and experiment, ultimately leading to the film’s organic feel.

I-Jing (Nina Ye) Photo courtesy of Left Handed Girl Production.

The Taipei Night Market as Character: A Cultural Exploration

An essential aspect of Left-Handed Girl is the portrayal of the night market as a character itself — a living, breathing entity that shapes the characters and their lives. Tsou articulates this vision, “The night market is not just a backdrop but a vital part of the story. It represents community, culture, and the hustle of daily life. For the protagonists, it’s a place of work, bonding, and sometimes conflict. We wanted the audience to feel that intrinsic relationship between the characters and their environment.”

The vibrant atmosphere of the night market enriches the film’s narrative and serves as a lens for exploring cultural dynamics. Baker adds, “That was evident in the way everything was shot. You can tell the characters are grounded in their reality.”

Thematic Depth: Gender, Identity, and Empowerment

As Left-Handed Girl continues to garner critical acclaim, its messages of empowerment and resilience take center stage. Tsou states her hopes for audience reception, “I hope they walk away understanding the resilience and strength of women, especially in a male-dominated society. The film portrays how women support each other, manage challenges, and ultimately find empowerment through collaboration.”

In an age where discussions about gender equality are more relevant than ever, Left-Handed Girl provides a space for these conversations to flourish. Tsou emphasizes, “Women’s stories are often overlooked or marginalized. I wanted to highlight that women are not just passive figures, but active participants in shaping their destinies.”

Baker adds, “That theme really resonates amidst global conversations about gender and equality today.” This alignment with contemporary discourse highlights the film’s timely relevance and serves as a platform for broader discussions about women’s roles in society today.

Character Development: The Heart of the Film

At its core, Left-Handed Girl thrives on its rich character development. The nuanced portrayal of the mother-daughter dynamics elevates the narrative, allowing for exploration of familial relationships across generations. Tsou notes the distinct perspectives each character brings: “Each character embodies different struggles and triumphs. The 21-year-old daughter is at the cusp of adulthood, facing societal pressures and expectations. The younger daughter symbolizes innocence and curiosity, while the middle-aged mother represents the weight of tradition and responsibility.”

This exploration of multi-generational experiences fosters a connection with audiences, allowing them to reflect on their own experiences within familial contexts. Baker notes, “Through their interactions, you see how generational patterns repeat, but can also evolve. It’s about passing down wisdom while allowing for individual growth.”

Challenges of Representation: Authenticity in Storytelling

One of the recurring discussions within the film industry revolves around representation and authenticity. Tsou approaches this by focusing on the cultural specificity of the story while ensuring it resonated on a universal level. “As a Taiwanese filmmaker, I felt a responsibility to represent my culture authentically. However, I also wanted to ensure that the themes of resilience and empowerment were relatable to audiences around the world,” Tsou remarks.

This balance reflects Tsou’s dedication to telling authentic stories that honor her roots while keeping them accessible to a global audience. Baker reinforces this perspective, stating, “What’s beautiful about the film is that it doesn’t shy away from cultural nuances, but instead embraces them as integral to the narrative.”

[More: Sean Baker’s “Anora” Hinges On One Pivotal Action Sequence]

by Staff Writer

From our in-house editorial team.