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Three Times

Name: Three Times
Director: Hou Hsiao-hsien
Released: 2005
Duration: 130 min

Representation Score

6.1/10

Good

2005

Not Rated

Director

Hou Hsiao-hsien

Runtime

130 minutes

Average Rating

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New Showbiz Analysis

Hou Hsiao-hsien’s triptych is a sophisticated study of intimacy set against Taiwan’s shifting geopolitical history. It excels in its post-colonial perspective, moving away from Anglo-centric narratives to center the lived experiences of Taiwanese subjects across three distinct eras. The film provides strong gender representation through complex female protagonists who drive the emotional stakes. However, the narrative remains within a traditional romantic framework, lacking explicit LGBTQ+ representation. While the film offers deep intellectual engagement with systemic oppression and cultural identity, it lacks any meaningful depiction of disability.

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Category Breakdown

Does Three Times have LGBTQ+ representation?

Limited

The film focuses on heterosexual relationships and infidelity. It does not explicitly center LGBTQ+ identities or non-traditional gender expressions.

How does Three Times portray gender?

Good

Female protagonists play a significant role in driving the story, balancing domestic life and autonomy. The film passes the Bechdel test, as women's conversations center on their own experiences.

How racially and ethnically diverse is Three Times?

Good

The film centers on Taiwanese subjects during the Japanese colonial and late Qing periods. It challenges Western historical narratives by focusing on non-Western, post-colonial identities.

How does Three Times represent religion and culture?

Excellent

The narrative explores post-colonial themes and critiques how political structures impact individuals. It depicts the working class and peasantry to highlight socio-economic hierarchies.

Does Three Times include disability representation?

Minimal

There are no prominent depictions of physical or neurodivergent disabilities that function as central character traits or plot drivers.

Present on Screen

Strong post-colonial storytelling that centers Taiwanese identity and history.
Nuanced portrayal of female autonomy within domestic spheres.
Sophisticated critique of how political and colonial structures impact personal lives.

Limited or Absent

Lack of explicit LGBTQ+ narratives or non-traditional gender expressions.
Absence of representation regarding physical or neurodivergent disabilities.

Official Synopsis

In three separate segments, set respectively in 1966, 1911, and 2005, three love stories unfold between three sets of characters, under three different periods of Taiwanese history and governance.

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