Left-Handed Girl director Shih-Ching Tsou discusses her collaboration with Sean Baker and the experience of viewing the world from a child’s perspective.

      A mother and her two daughters have moved into a small apartment in Taipei, marking a cautious step toward financial independence. Their battle for survival forms the core of Left-Handed Girl, one of the most dynamic and well-executed films of the year.

      While Shih-Ching Tsou and Sean Baker jointly directed Take Out in 2004, Left-Handed Girl is Tsou’s first feature as the sole director. The project originated years prior when Tsou and Baker visited Taiwan. As Left-Handed Girl was gearing up for production, Baker was occupied with directing what would eventually win an Oscar, Anora. Although he was not present during the principal photography in Taipei, he contributed to the script, production, and later editing of the film.

      Since its debut at Cannes, Left-Handed Girl has received accolades at various global festivals, including Taiwan’s Golden Horse awards, as well as those in Zurich, Rome, Montclair, and Stockholm. The film is currently available for streaming on Netflix.

      The Film Stage: What was your visual approach for the story?

      Shih-Ching Tsou: I aimed to depict this world through the perspective of a little girl. Young girls notice things that adults often overlook. We become accustomed to our life experiences and take much for granted. However, I-Jing views the world with fresh eyes and an open mind. Therefore, I believe it’s essential to convey the story from her viewpoint.

      When did you begin writing the script?

      I took Sean to Taipei in 2010, where we spent a month. We visited many night markets and ultimately discovered the one we featured in the film. We also encountered a young girl, somewhat like I-Jing, whose mother operated a noodle stall.

      Our script was co-written in English. Typically, I would narrate parts of the story while he typed on his computer. Over the years, as we sought financing, we didn’t revise the script. I only translated it into Chinese when I applied for a grant in Taiwan in the early 2020s. Even then, it required minimal adjustments. It was only when we entered pre-production that we began refining the dialogue, including updating parts of the script, such as the news story about people changing their names to win free meals.

      The storyline revolves around women striving to survive in a harsh environment, making it essentially timeless. Once you had your cast, how closely did you adhere to the script?

      I aimed to stay faithful to the script, but it was never finalized. At the end of each shooting day, I would unwind and reflect on what we had filmed, often coming up with new ideas for the following day. I would tweak things and print the revised pages, so we always had fresh material to work on.

      How did the actors respond to that method?

      Nina Ye had already garnered years of acting experience by the time I cast her. Her mother acts as her coach, guiding her through auditions and preparing her lines. They worked collaboratively at home on her character. Thus, when Nina arrived on set, she was consistently ready and able to add her own flair to the scenes. I would ask her to stick to the script initially, then explore her interpretation.

      What about Janel Tsai, who portrays her mother, Shu-Fen?

      Janel is a well-known TV actress in Taiwan. After winning the Taiwanese equivalent of an Emmy, she mentioned in an interview that she was seeking a role that diverged from her usual portrayals. She often played sharp businesswomen and felt somewhat typecast. I reached out to her because Shu-Fen represented a unique opportunity for her.

      Upon our first meeting, she expressed, “I can relate to this character because my background is quite similar. I hail from a traditional family and grew up near the night market. I resonate with her.”

      There’s a powerful close-up of Janel toward the film's conclusion, where her reaction to the surrounding chaos is palpable. Did Shih-Yuan Ma, who plays I-Ann, have any acting training?

      No, but she possesses a natural acting talent. When I discovered her on Instagram, she radiated the aura I envisioned for her character. I informed her there were two intimate scenes in the script, but she was eager for the role. I believe that, even without formal training, some younger actors have innate talent. Shih possesses that quality.

      How do you direct someone lacking experience? How do you guide Shih in delivering what you envision?

      For this film, I opted against any rehearsals; I wanted them to explore everything on set. The first-time interactions among actors create an organic chemistry that cannot be fabricated. Rehearsing can diminish that authenticity, which I wished to avoid, even though it can be risky with inexperienced actors. My focus was on ensuring they felt genuinely prepared. Since the three were locals, I encouraged them to infuse their own lives into their roles. I feel this is essential because many families in