“After 10 years or 20 years, you will feel less lonely. Surely you will not be hurt anymore due to your pure feeling and kindness” a warmhearted bookstore owner (played by literary superstar Lo Yi-chin AKA Lou Yi-chun/Luo Yijun) advises a series of young women in a parting letter, reminding them that the reason they suffer so is only their youth and that too shall pass. Inspired by Hou Chi-jan’s documentary series Poetries from the Bookstores which highlighted 40 Taiwanese indie bookshops, omnibus film Dear Loneliness (致親愛的孤獨者, Zhì Qīn’ài de Gūdú Zhě) features three segments helmed by three promising young directors selected through Dreamland Image’s Storylab featuring three women each consumed by loneliness at differing stages of youth. 

In the first of the stories, 12-year-old Xiaoyu (Lin Chi-en) is introverted and friendless. In common with the heroines of the other two segments, she is disconnected from her family, raised by a grumpy grandpa who hates her reading habit which he sees as a waste of time because it makes no money. Like many of the other girls at school, she has a crush on handsome teacher David (Chung Cheng-Chun) whose obvious enjoyment of the attention he receives has his relatively more authoritative colleague feeling worried enough to ask him if his behaviour isn’t a little inappropriate. Burying herself in romance novels and engaging in mental fantasies of her teacher Xiaoyu struggles with her adolescent desire while firmly rejected by her peer group, the girl on the next desk going so far as to adjust the angle of her selfie to avoid Xiaoyu being caught in the background. The irony is that David may indeed be engaging in inappropriate conduct with his students, just not with Xiaoyu whose jealousy and resentment may accidentally expose him for what he is but leave her even more marginalised. 

Kai-han (Angel Lee), meanwhile, also experiences parental alienation, yelled at by her unsupportive father just at the moment she really needs some help. Having left her small town for uni in Taipei she discovers a girl from the Mainland already in the room she thought was hers. Owing to some kind of mix up, she finds herself abruptly without accommodation with term about while the harried office admin lady is decidedly unhelpful. After taking temporary refuge in a bookshop where she’s berated by her father over the phone who accuses her of being lax with details and bringing this on herself, she decides to try getting the Mainlander to vacate “her’ room, but she is understandably unwilling seeing as she’s paid her rent for the term already. Things take a turn for the unpleasant when Kai-han discovers her wallet missing and after reading a series of xenophobic online comments decides the Mainland girl took it. She tries to get it back, perhaps mistakenly feeling she’s standing up for herself and taking responsibility but incurring only tragic consequences which yield ironic results. 

The oldest of the women, Xiaoxun (Chang Ning) who gives her age perhaps unconvincingly as 20, left her “indifferent” family in Kaohsiung for love, ending up on the fringes of the sex trade because she needed money. Yet she ends up taking a strange job in prison “rehabilitation”, flirting with the various lonely men who request her and vowing to wait for each of them until they get out. Prisoner 2923 (Liu Kuan-ting) is a little different, deep and introspective he forces her to realise that she too is imprisoned. “Each day goes by whether you’re happy or sad” she cheerfully advances, deflecting his questioning until the time runs out. He sends her to a book store, because you can’t recommend the best book, the best book chooses you. Meanwhile, she reflects on her problematic relationship with her ex who is now dating her friend before realising she’s hooked on the mystery of 2923, eventually hearing his story but allowing it to free her from her sense of shame and inertia as she ponders a return to source, perhaps finally meaning it when she tells him too that she will wait for him. 

The three women each experience loneliness and despair at different stages of life, but as the bookseller points out they are all very young. The key to escaping their loneliness, he claims, lies in experience, filling the void with “the fullness of life”. Asked what it is they should do he can’t say, but assures them that he would give them a hug “because you are very precious, you just don’t realise that now”. A strangely life affirming experience, Dear Loneliness is a gentle hand in the darkness pointing the way for those who feel hopeless and alone back towards a place of light and safety to be found, it seems, in your local indie bookshop.


Dear Loneliness streamed as part of this year’s New York Asian Film Festival.

Original trailer (English/Traditional Chinese subtitles)

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