El vacío y el ruido. Encuadre, composición y espacio, elementos esenciales en la construcción del discurso existencial de Hou Hsiao-hsien. Una trilogía: Millenium Mambo, Café Lumière y Tiempos de amor, juventud y libertad (Three Times)

The void and noise (or variegated) are two antonyms that come together in Huo Hsia-hsien’s cinema. A Taiwanese filmmaker who belongs to the «New Wave» of his country’s cinema, his films will be a formalist look at the reality of his country from the distance imposed by its distant frames, maintaining, on many occasions, a unique point of view. A portrait painter of the past, Hsiao-hsien will start in 2001 to reflect on the present, with three films that make up an informal trilogy on youth and its place in today’s society. A reflection that becomes spatial and develops a language, linked to postmodernity, that will generate a discourse through the relationship of the subjects and their bodies with the visible and invisible field of framing. Heir to the Chinese iconographic tradition, to his painting and his mode of representation, the void for Hsiao-hsien will be an element full of meaning that will invite the spectator to share, offering him a space to intrude his own reflection. A physical and spiritual emptiness that will establish, at the same time, a dilectic with the noise and the variegated of the current society, generating a creative tension that is transmitted in as the bodies inhabit, or not, the cinematographic space vehicle of its speech.