Hsiao-hsien Hou Net Worth
Hsiao-hsien Hou Net Worth is
$16 Million
Hsiao-hsien Hou Bio/Wiki, Net Worth, Married 2018
Of the ten films that Hsiao-hsien Hou directed between 1980 and 1989, seven received best film or best director awards from prestigious international films festivals in Venice, Berlin, Hawaii, and the Festival of the Three Continents in Nantes. In a 1988 worldwide critics' poll, Hou was championed as "one of the three directors most crucial to the... | Date Of Birth | April 8, 1947 |
| Place Of Birth | Meixian, Guangdong, China |
| Profession | Director, Writer, Producer |
| Star Sign | Aries |
| # | Trademark |
|---|---|
| 1 | Minimalism in storytelling |
| 2 | Mostly deals with the history of the past century of Taiwan |
| 3 | Often collaborates with Chu Tien-Wen and Mark Lee Ping-Bin |
| 4 | Imagery of a sensual beauty |
| 5 | Use of trains |
| 6 | Concentrating the action on the edge of the frame |
| 7 | Extreme long takes and minimal camera movement |
| 8 | Elliptical storytelling |
| # | Quote |
|---|---|
| 1 | Movies are only 100 years old. They haven't been around for that long, yet Milan Kundera has already declared, "Cinema is dead." He doesn't think movies should be a mere imitation of drama and theater. For me, cinema is still young; it still can't function like written words, which have been around for far longer. When we see an image, we could only see the surface. It's like in real life - it's hard to go deeper, beyond what you see on the surface. It's hard to get at just through looking, just through beholding an image. Words can do that. They can go deeper. But with images, we only see the surface. We need more time to develop the language of cinema, to explore its possibilities. It's going to take a while before anything changes. But the Internet may be helpful in this respect: these days, people can easily shoot and put up their works online. But it will still take time. [2015] |
| 2 | You can't imagine the lengths I went to, growing up, to actually see films. I remember that I would see every single film that was released and shown in the theater. I had to find a way to get in there. So when I was a boy, what I would do is pretend that I was someone else's kid-I'd tug the shirt of an adult and pretend that I was with them so I could get into the theater for free. Then later on, in middle school, I was a bit bigger and could no longer pretend that I was somebody's child to get into the theater, so I would collect ticket stubs on the floor and stick them back together, and then I would go to the theater and give that to the clerk. Of course, they didn't pay attention to the details, so they would just take the fake ticket stub. Later on, when I was in high school and college, I did something more impressive: I would climb walls to go into the theater, or I would cut through fences to go see the films.[2015] |
| 3 | When I was young, a group of filmmakers and I would hang out at Edward Yang's home. It was a Japanese-style home, and we'd be sitting around on these Japanese mats. At the time we weren't young in age, but we were young as filmmakers, so we felt very fresh, very eager, and very ambitious about the films we were about to make. The films that we watched had been made after World War II in different countries. So you had films being made in Italy with neorealism, including Bicycle Thieves. In France you had Godard with Breathless and François Truffaut's The 400 Blows, and in Germany you had this new cinema with Rainer Werner Fassbinder. These were films we would watch and discuss. We were all filmmakers who had gone abroad to study film, but Yang was an anomaly because he had actually studied science, and was working with computers, but gave up those practices to make films in Taiwan. Breathless definitely had a huge influence on how I put together my film The Boys from Fengkuei-and while I was editing this film with my collaborators, we actually saw Breathless. It really inspired us to incorporate jump cuts into the editing process, because in the past, the conventional way was to start with a long shot and end up with a close-up. But here, with the exact same position, you can do these jump cuts to somehow bring out the emotions of the characters and the stories you want to portray.[2015] |
| 4 | [on why he prefers long shots] I always tend to use long shots since I prefer to show what is happening behind the characters, meaning the objects behind the actors, the landscapes. When you use a long shot, you can better capture reality. I am in favor of realism in movies and am against the theatricalisation of action. I hate explanation in films, especially anything related to psychology, preferring instead that the movie help audiences to bring their own imaginations into the story. |
| 5 | [on the complicated nature of the story in Nie yin niang] That's normal, and it can't be helped. Hollywood-style films are popular all around the world nowadays, and they need a strict story structure. If the story is not told that way, not continuous enough, the audience will have difficulty following along. But that's only one of the many ways of telling a story: there are hugely different ways of filmmaking in world cinema. Only because of the huge impact of Hollywood, young people want to imitate that style. Actually, almost all filmmakers want to imitate the style of Hollywood. But I don't see it that way. A good film is when you continue your imagination (of it) after seeing it. |
| 6 | The style of the film depends on the filmmaker's personality. |
| 7 | The cinema that I like has a kind of simultaneity between conspicuousness, exteriority and content... If I were to compare film to music, I'd say that what interests me is more like the style of a fugue than that of an orchestral symphony. I like to create films in the same way as one would a fugue. |
| 8 | [on eastern and western ways of expressing ideas] In western novels and drama the storytelling is very strong. This is a longstanding tradition. Chinese novels and drama are different. They use a style called 'Fubixing' part of which is similar to poetry. They don't purely tell the story, they express feeling at the same time... Just like in symphonic music, the fugue is different from harmonic music. Fugue has different melodies at the same time. It can have 2 or 3. Harmonic music has a main melody. Everything goes with this main melody. The fugue is similar to an eastern way of expression, which puts seemingly irrelevant lines together to mix storytelling, feeling and expression. |
| 9 | [on his future as a filmmaker, 2008] I've made my share of art films, so I think it's time to switch gears. I'd like to devote the next 10 years to making wuxia films. Rest assured, they won't be your ordinary kung-fu movies that other filmmakers have been making. The Tang dynasty produced countless novels that are quite fascinating. The first one I've chosen is about a female assassin called 'Nieyin niang'. |
| 10 | [on Le Voyage du Ballon Rouge] I found it fascinating, because the relationship between a child and a balloon has changed drastically in half a century. A child can have all kinds of toys nowadays, so a balloon is nothing special. But the original 'Red Balloon' ended with a group of children fighting over the balloon and ultimately causing it to deflate, which I thought was quite cruel. So the balloon in my film represents a ghost of the past returning to this world. Although it may momentarily elicit a child's curiosity, the balloon basically understands that its relationship with the child has shifted. It is watching over a child, but there's also an air of sadness because it can no longer win the child's affection. |
| 11 | Movies should reflect facets of life. If you don't fully comprehend a way of life, you can't tell whether something will ring true. Whenever I am planning a script, I like to survey a location and its surroundings to determine where key scenes will take place, within which neighborhood, and what the area's infrastructure is like. I'll explore places such as the school and the public market within that district. |
| 12 | Reality provides a model and the more you understand it, the clearer your film will be. |
| 13 | [on how he became a filmmaker] (When he was in the army) On Sundays, when I was on leave, I'd go to the movies. Sometimes I'd see four films a day. Without knowing whether I'd study cinema, I'd decided it was what I wanted to do. I liked the cinema without knowing exactly what I'd do in it. I began working, as soon as I got out of university, as an assistant and as a screenwriter, not knowing I'd become a director. At first I wanted to be an actor. During school I took part in a singing contest. But I got stage fright. Once on stage, no sound! |
| 14 | [on changes in the industry since his early days] The times have changed and the technical aspects have moved on but the mindset of the film business and its relationship with the market has more or less remained the same. For the contemporary people - or maybe for me in particular - the biggest enemy is the market. It destroys everything other than what makes money, doesn't it? The situation has gotten worse with the popularity of the internet: the users can come together and decide which movies (get made) nowadays. How much can you achieve in such a narrow space (for creativity)? It's not easy. Even the nature of the moving images has changed: people are used to watching on small screens or reading comics now. In comics, all the images are the most brilliant moments. The viewers no longer pay as much attention to the texture of the images or the flow of emotions (in films). So although the emphasis on the market has stayed the same, the essence of cinema has changed since I started. |
| 15 | [on form] It seemed clear to me what determines each shot: the point of view, the objectivity, and the subjectivity of the character, what the actor sees. Who sees what? I thought, 'I've got it!' I understood that three viewpoints make up each film: 1) that of the director, what the director thinks or sees, and 2) that of the character, what the actor thinks or sees. That's all. Only two viewpoints. |
| 16 | My films are accepted much more in Japan or in Europe. |
| 17 | Art movies and commercial movies are [in Taiwan considered] opposites ... it's like they hate each other. |
| # | Fact |
|---|---|
| 1 | Recalls how, as a child, he climbed a tree to steal mangos, and while looking down experienced "an acute sense of space and time" that later helped inspire him to become a filmmaker. |
| 2 | A major figure in the Taiwanese New Cinema movement. |
| 3 | Jim Jarmusch called Hou his "teacher". |
| 4 | Was voted "Director of the Decade (1990s)" in a poll of international film critics put together by the Village Voice and Film Comment. |
| 5 | It was only because critics kept telling him how much his own work resembled that of the Japanese master Yasujiro Ozu that he decided to explore it. He first saw Ozu's films in Paris, in the mid-1980s. |
| 6 | French film-maker Olivier Assayas admired Hou so much that in 1997, he made a feature length documentary about him: HHH: Portrait de Hou Hsiao-hsien. |
| 7 | He is the 25th generation of his family. He still sends money to maintain a family temple in China. |
| 8 | Since his departure from China as a young boy, he only returned to the mainland in 1997 to film "Flowers of Shanghai" (1998), which was shot on location. |
| 9 | Education: National Taiwan Arts Academy (film) |
Writer
| Title | Year | Status | Character |
|---|---|---|---|
| The Assassin | 2015 | screenplay - as Hsiao-hsien Hou | |
| Le voyage du ballon rouge | 2007 | ||
| Zui hao de shi guang | 2005 | ||
| Café Lumière | 2003 | screenplay | |
| Qu nian dong tian | 1995 | ||
| Tóngnián wangshì | 1985 | ||
| Qing mei zhu ma | 1985 | ||
| Zui xiang nian de ji jie | 1985 | ||
| Xiao ba ba de tian kong | 1984 | as Shiaw Shyann Hour | |
| Dong dong de jiàqi | 1984 | screenplay | |
| You ma cai zi | 1983 | writer | |
| Xiao Bi de gu shi | 1983 | writer | |
| Qiao ru cai die fei fei fei | 1982 | ||
| Feng er ti ta cai | 1982 | ||
| Zai na he pan qing cao qing | 1982 | writer | |
| Tian liang hao ge qiu | 1980 | screenplay | |
| Jiu shi liu liu de ta | 1980 | screenplay | |
| Zao an tai bei | 1979 | writer | |
| Chu lian | 1979 | screenplay | |
| Yan bo jiang shang | 1978 | ||
| Wo ta lang er lai | 1978 | as Lei Hou | |
| Cui hu han | 1976 | uncredited |
Director
| Title | Year | Status | Character |
|---|---|---|---|
| The Assassin | 2015 | ||
| 10+10 | 2011 | segment "La Belle Epoque" | |
| Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence | 2007 | segment "The Electric Princess House" | |
| Le voyage du ballon rouge | 2007 | ||
| Zui hao de shi guang | 2005 | ||
| Café Lumière | 2003 | ||
| Millennium Mambo | 2001 | ||
| Hai shang hua | 1998 | ||
| Nan guo zai jian, nan guo | 1996 | ||
| Hao nan hao nu | 1995 | ||
| The Puppetmaster | 1993 | ||
| Beiqíng chéngshì | 1989 | ||
| Ni luo he nu er | 1987 | ||
| Liàn liàn fengchén | 1986 | ||
| Tóngnián wangshì | 1985 | ||
| Dong dong de jiàqi | 1984 | ||
| Er zi de da wan ou | 1983 | ||
| Feng gui lai de ren | 1983 | ||
| Feng er ti ta cai | 1982 | ||
| Zai na he pan qing cao qing | 1982 | ||
| Jiu shi liu liu de ta | 1980 |
Producer
| Title | Year | Status | Character |
|---|---|---|---|
| The Assassin | 2015 | executive producer - as Hsiao-hsien Hou / producer - as Hsiao-hsien Hou | |
| Beyond Beauty: Taiwan from Above | 2013 | Documentary executive producer / producer | |
| Jin cheng xiao zi | 2011 | Documentary executive producer | |
| Return Ticket | 2011 | executive producer | |
| Di 36 ge gu shi | 2010 | executive producer | |
| You yi tian | 2010 | executive producer | |
| Ming dai zhui zhu | 2001 | co-executive producer | |
| Borderline | 1999 | producer | |
| Qu nian dong tian | 1995 | executive producer | |
| Duo sang | 1994 | executive producer | |
| Shao nian ye, an la! | 1992 | executive producer | |
| Raise the Red Lantern | 1991 | executive producer | |
| Qi wang | 1991 | associate producer | |
| Xiao Bi de gu shi | 1983 | producer |
Assistant Director
| Title | Year | Status | Character |
|---|---|---|---|
| Tian liang hao ge qiu | 1980 | assistant director | |
| Zuo yu xiao xiao | 1979 | assistant director | |
| Nan hai yu nü hai de zhan zheng | 1978 | assistant director | |
| Yan shui han | 1977 | assistant director | |
| Ai you ming tian | 1977 | assistant director | |
| Yun shen bu zhi chu | 1975 | deputy director | |
| Jin shui lou tai | 1974 | deputy director |
Actor
| Title | Year | Status | Character |
|---|---|---|---|
| Qing Chun Pai | 2013 | ||
| Lao niang gou sao | 1986 | Boy-Boy | |
| Qing mei zhu ma | 1985 | Lung | |
| Wo ai Mali | 1984 |
Miscellaneous
| Title | Year | Status | Character |
|---|---|---|---|
| Lei she | 2014 | Short Dean: Golden Horse Film Academy | |
| 10+10 | 2011 | presenter - segment "La Belle Epoque" | |
| Tai shang tai xia | 1983 | script consultant | |
| Xin you qian qian jie | 1973 | script supervisor |
Self
| Title | Year | Status | Character |
|---|---|---|---|
| Dragon Girls | 2016 | Documentary | Himself |
| Cinema 3 | 2015 | TV Series | Himself |
| Flowers of Taipei: Taiwan New Cinema | 2014 | Documentary | Himself (as Hsiao-hsien Hou) |
| Zuo tian | 2013 | Documentary | Himself |
| Une journée particulière | 2012 | Documentary | Himself |
| I Wish I Knew | 2010 | Documentary | Himself |
| Cheng zhe guang ying lu xing | 2009 | Documentary | Himself |
| Hou Hsiao-Hsien Master Class | 2007 | Video documentary | Himself |
| Pierre Rissient: Man of Cinema | 2007 | Documentary | Himself |
| Paraskinio | 2006 | TV Series documentary | Himself |
| Métro Lumière: Hou Hsiao-Hsien à la rencontre de Yasujirô Ozu | 2004 | TV Movie documentary | |
| Bai Ge Ji Hua: Taiwan Xin Dianying Ershi Nian Huei Gu | 2002 | Documentary | |
| Jam session - Kikujiro no natsu koshiki kaizokuban | 1999 | Documentary | Himself |
| Naamsaang-neuiseung | 1998 | Documentary | |
| Signé croisette | 1998 | TV Series | Himself |
| Cinéma, de notre temps | 1997 | TV Series documentary | Himself |
| Meiyou taiyang de rizi | 1990 | Documentary | Himself |
Won Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | Asian Film Award | Asian Film Awards | Best Director | Cìkè Niè Yinniáng (2015) |
| 2016 | FIPRESCI Prize | Palm Springs International Film Festival | Best Foreign Language Film | Cìkè Niè Yinniáng (2015) |
| 2015 | Best Director | Cannes Film Festival | Cìkè Niè Yinniáng (2015) | |
| 2015 | Golden Horse Award | Golden Horse Film Festival | Best Director | Cìkè Niè Yinniáng (2015) |
| 2015 | Golden Horse Award | Golden Horse Film Festival | Outstanding Taiwanese Filmmaker of the Year | |
| 2015 | ICS Cannes Award | International Cinephile Society Awards | Palme d'Or | Cìkè Niè Yinniáng (2015) |
| 2008 | ICP Award | Indiewire Critics' Poll | Best Director | Le voyage du ballon rouge (2007) |
| 2007 | Leopard of Honor | Locarno International Film Festival | ||
| 2007 | FIPRESCI Prize | Valladolid International Film Festival | Le voyage du ballon rouge (2007) | |
| 2006 | Honorary Golden Wheel | Vesoul Asian Film Festival | ||
| 2006 | Grand Prix - Golden Apricot | Yerevan International Film Festival | Best Film | Zui hao de shi guang (2005) |
| 2005 | Golden Horse Award | Golden Horse Film Festival | Best Taiwanese Filmmaker of the Year | Zui hao de shi guang (2005) |
| 2005 | Golden Tulip | Istanbul International Film Festival | Kôhî jikô (2003) | |
| 2005 | Akira Kurosawa Award | Tokyo International Film Festival | ||
| 2004 | Asian Filmmaker of the Year | Pusan International Film Festival | ||
| 2001 | Silver Hugo | Chicago International Film Festival | Qian xi man po (2001) | |
| 2001 | Best Director | Ghent International Film Festival | Qian xi man po (2001) | |
| 2001 | Hand Printing | Pusan International Film Festival | ||
| 1999 | Golden Crow Pheasant | Kerala International Film Festival | Hai shang hua (1998) | |
| 1999 | VVFP Award | Village Voice Film Poll | Best Director of the Decade | |
| 1998 | Best Director | Asia-Pacific Film Festival | Hai shang hua (1998) | |
| 1996 | Best Director | Asia-Pacific Film Festival | Hao nan hao nu (1995) | |
| 1996 | Golden Deer | Changchun Film Festival | Best Director | Hao nan hao nu (1995) |
| 1996 | Special Jury Award | Fribourg International Film Festival | Hao nan hao nu (1995) | |
| 1996 | FIPRESCI/NETPAC Award | Singapore International Film Festival | Hao nan hao nu (1995) | |
| 1996 | Special Achievement Award | Singapore International Film Festival | Hao nan hao nu (1995) | |
| 1995 | Golden Horse Award | Golden Horse Film Festival | Best Director | Hao nan hao nu (1995) |
| 1995 | Golden Maile Award | Hawaii International Film Festival | Narrative Feature | Hao nan hao nu (1995) |
| 1994 | Distribution Help Award | Fribourg International Film Festival | Xi meng ren sheng (1993) | |
| 1994 | FIPRESCI Prize | Istanbul International Film Festival | International Competition | Xi meng ren sheng (1993) |
| 1993 | Jury Prize | Cannes Film Festival | Xi meng ren sheng (1993) | |
| 1991 | Kinema Junpo Award | Kinema Junpo Awards | Best Foreign Language Film | Bei qing cheng shi (1989) |
| 1991 | Mainichi Film Concours | Mainichi Film Concours | Best Foreign Language Film | Bei qing cheng shi (1989) |
| 1990 | Kinema Junpo Award | Kinema Junpo Awards | Best Foreign Language Film Director | Lian lian feng chen (1986) |
| 1989 | Golden Horse Award | Golden Horse Film Festival | Best Director | Bei qing cheng shi (1989) |
| 1989 | Golden Lion | Venice Film Festival | Bei qing cheng shi (1989) | |
| 1989 | UNESCO Award | Venice Film Festival | Bei qing cheng shi (1989) | |
| 1989 | Special Golden Ciak | Venice Film Festival | Bei qing cheng shi (1989) | |
| 1987 | Best Cinematography | Nantes Three Continents Festival | Lian lian feng chen (1986) | |
| 1987 | Best Score | Nantes Three Continents Festival | Lian lian feng chen (1986) | |
| 1987 | Rotterdam Award | Rotterdam International Film Festival | Best Non-American/Non-European Film | Tong nien wang shi (1985) |
| 1987 | Jury Special Prize | Torino International Festival of Young Cinema | Feature Film | Ni luo he nu er (1987) |
| 1986 | FIPRESCI Prize | Berlin International Film Festival | Forum of New Cinema | Tong nien wang shi (1985) |
| 1986 | Special Jury Award | Hawaii International Film Festival | Tong nien wang shi (1985) | |
| 1986 | Jury Special Prize | Torino International Festival of Young Cinema | Tong nien wang shi (1985) | |
| 1985 | Special Jury Award | Asia-Pacific Film Festival | Tong nien wang shi (1985) | |
| 1985 | Golden Horse Award | Golden Horse Film Festival | Best Original Screenplay | Tong nien wang shi (1985) |
| 1985 | Prize of the Ecumenical Jury - Special Mention | Locarno International Film Festival | Dong dong de jia qi (1984) | |
| 1985 | Golden Montgolfiere | Nantes Three Continents Festival | Dong dong de jia qi (1984) | |
| 1984 | Best Director | Asia-Pacific Film Festival | Dong dong de jia qi (1984) | |
| 1984 | Golden Horse Award | Golden Horse Film Festival | Best Adapted Screenplay | You ma cai zi (1983) |
| 1984 | Golden Montgolfiere | Nantes Three Continents Festival | Feng gui lai de ren (1983) | |
| 1983 | Golden Horse Award | Golden Horse Film Festival | Best Adapted Screenplay | Xiao Bi de gu shi (1983) |
Nominated Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | BAFTA Film Award | BAFTA Awards | Best Film not in the English Language | Cìkè Niè Yinniáng (2015) |
| 2016 | Chlotrudis Award | Chlotrudis Awards | Best Director | Cìkè Niè Yinniáng (2015) |
| 2016 | Gold Derby Award | Gold Derby Awards | Foreign Language Film | Cìkè Niè Yinniáng (2015) |
| 2016 | ICS Award | International Cinephile Society Awards | Best Adapted Screenplay | Cìkè Niè Yinniáng (2015) |
| 2016 | Seattle Film Critics Award | Seattle Film Critics Awards | Best Foreign-Language Film | Cìkè Niè Yinniáng (2015) |
| 2015 | Asia Pacific Screen Award | Asia Pacific Screen Awards | Achievement in Directing | Cìkè Niè Yinniáng (2015) |
| 2015 | Asia Pacific Screen Award | Asia Pacific Screen Awards | Best Film | Cìkè Niè Yinniáng (2015) |
| 2015 | ACCA | Awards Circuit Community Awards | Best Foreign Language Film | Cìkè Niè Yinniáng (2015) |
| 2015 | Palme d'Or | Cannes Film Festival | Cìkè Niè Yinniáng (2015) | |
| 2015 | Art Cinema Award | Hamburg Film Festival | Cìkè Niè Yinniáng (2015) | |
| 2009 | ICS Award | International Cinephile Society Awards | Best Director | Le voyage du ballon rouge (2007) |
| 2009 | ICS Award | International Cinephile Society Awards | Best Adapted Screenplay | Le voyage du ballon rouge (2007) |
| 2007 | Un Certain Regard Award | Cannes Film Festival | Le voyage du ballon rouge (2007) | |
| 2005 | Palme d'Or | Cannes Film Festival | Zui hao de shi guang (2005) | |
| 2005 | Golden Horse Award | Golden Horse Film Festival | Best Director | Zui hao de shi guang (2005) |
| 2005 | Golden Horse Award | Golden Horse Film Festival | Best Original Screenplay | Zui hao de shi guang (2005) |
| 2005 | Grand Prize | Tallinn Black Nights Film Festival | Zui hao de shi guang (2005) | |
| 2004 | Golden Lion | Venice Film Festival | Kôhî jikô (2003) | |
| 2001 | Palme d'Or | Cannes Film Festival | Qian xi man po (2001) | |
| 2001 | Screen International Award | European Film Awards | Qian xi man po (2001) | |
| 2001 | Grand Prix | Ghent International Film Festival | Qian xi man po (2001) | |
| 2001 | Golden Maile Award | Hawaii International Film Festival | Narrative Feature | Qian xi man po (2001) |
| 1998 | Palme d'Or | Cannes Film Festival | Hai shang hua (1998) | |
| 1998 | Golden Horse Award | Golden Horse Film Festival | Best Director | Hai shang hua (1998) |
| 1996 | Palme d'Or | Cannes Film Festival | Nan guo zai jian, nan guo (1996) | |
| 1995 | Palme d'Or | Cannes Film Festival | Hao nan hao nu (1995) | |
| 1995 | Gold Hugo | Chicago International Film Festival | Best Feature | Hao nan hao nu (1995) |
| 1993 | Palme d'Or | Cannes Film Festival | Xi meng ren sheng (1993) | |
| 1991 | Independent Spirit Award | Independent Spirit Awards | Best Foreign Film | Bei qing cheng shi (1989) |
| 1989 | Golden Horse Award | Golden Horse Film Festival | Best Feature Film | Bei qing cheng shi (1989) |
| 1987 | Golden Montgolfiere | Nantes Three Continents Festival | Lian lian feng chen (1986) | |
| 1987 | Prize of the City of Torino | Torino International Festival of Young Cinema | Best Feature Film | Ni luo he nu er (1987) |
| 1986 | Prize of the City of Torino | Torino International Festival of Young Cinema | Best Feature Film | Tong nien wang shi (1985) |
| 1985 | Golden Horse Award | Golden Horse Film Festival | Best Director | Tong nien wang shi (1985) |
| 1985 | Golden Horse Award | Golden Horse Film Festival | Best Leading Actor | Qing mei zhu ma (1985) |
| 1984 | Golden Horse Award | Golden Horse Film Festival | Best Director | Feng gui lai de ren (1983) |
| 1982 | Golden Horse Award | Golden Horse Film Festival | Best Director | Zai na he pan qing cao qing (1982) |
| 1980 | Golden Horse Award | Golden Horse Film Festival | Best Adapted Screenplay | Zao an tai bei (1979) |
2nd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | ICS Award | International Cinephile Society Awards | Best Director | Cìkè Niè Yinniáng (2015) |
3rd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | NSFC Award | National Society of Film Critics Awards, USA | Best Foreign Language Film | Cìkè Niè Yinniáng (2015) |
| 2015 | ICP Award | Indiewire Critics' Poll | Best Director | Cìkè Niè Yinniáng (2015) |
| 2015 | VVFP Award | Village Voice Film Poll | Best Director | Cìkè Niè Yinniáng (2015) |
Known for movies
The Assassin (2015)
as Writer
Zui hao de shi guang (2005)
as Writer
Le voyage du ballon rouge (2007)
as Writer
Tóngnián wangshì (1985)
as Writer