No. 76 Horror Bookstore: Tin of Fear (76号恐怖書店之恐懼罐頭, David Chuang & Hung Tzu-peng, 2020)

The first in a potential franchise, David Chuang & Hung Tzu-peng’s chilling anthology 76 Horror Bookstore: Tin of Fear (76号恐怖書店之恐懼罐頭, 76-Hào Kǒngbù Shūdiàn zhī Kǒngjù Guàntou) adapts four short stories from the online novel series of the same name. Somewhat interconnected and featuring some of the same cast, the four episodes each present a different kind of horror but all featuring a rather grisly spin from the secrets contained in the grim apartment building of the first instalment to the heartbreaking familial drama of the last as a collection of contemporary lost souls attempt to make sense of life, death, and that which exists somewhere in between. 

Titled “Rent”, the first chapter sees single mother Miss Ho (Esther Huang) leave her young son behind to travel to Taipei hoping to earn money through sex work in order to buy a house in which they can live together. Unfortunately, however, her city existence is even grimmer than expected, inhabiting a rundown apartment block overseen by an extremely creepy landlord (Lai Hao-Zhe) who informs her that the previous tenant, whose belongings are still in the room, abruptly disappeared without trace. “When your son grows up, he’ll be able to protect you” the landlord adds in rather sexist fashion finally getting round to fixing the lock on her door while singing unsettling nursery rhymes about slow rats getting eaten alive. Gradually Miss Ho becomes aware that the building is home to a dark secret connected with the sad fate of one particular family who apparently attempted to resist the urban renewal programme but ironically finds that her own victory lies in a sense with complicity. 

Meanwhile, in Hunger a convict (Joe Chang Shu-Wei) wakes up on the outside after a traumatic episode only to discover that in this version of reality food has been declared illegal. The clerk at a convenience store (Troy Liu Tzu-Chuan) reacts to his polite request for sustenance with shear horror as if he’d just asked him where he might be able to find the weapons grade plutonium or high grade explosives. A strangely dressed man hanging round outside explains that there’s no more food for another 76 days, but he can supply him with some tins for a small fee. Gesturing at the sign inside the store which is currently counting down to a ghost festival might have clued the man in on where he might be if only he had his thinking cap on, but sure enough he finds himself trapped in a purgatorial hellscape and eventually faced with an ironic confrontation as he resolutely fails to take the opportunity to overcome his baser instincts. 

Shifting into teen supernatural romance, Hide and Seek takes a less grisly though no less cruel turn as a bunch of kids head out on an adventure to celebrate the 18th birthday of Xiaoqi (Eric Lin Hui-Ming). Best friend Shaohua (Troy Liu Tzu-Chuan) has organised a camping trip to a supposedly haunted former dormitory yet the conflict here is of a more ordinary kind in that both the boys had unwittingly intended to declare their love to the same girl. Nevertheless, as the haunted house adventure proceeds Xiaoqi begins to to wonder who is haunting who, unwittingly forced into a delayed confession of his repressed emotion. 

Something similar befalls Hsin-chieh (Annie Ting-ni), the 30-something heroine of final instalment Taxi who has recently discovered she is pregnant and is subsequently consumed with maternal anxiety that reflects the loss of each of her parents in very different circumstances along with a possible sacrifice of independence and individual identity. Nagged by the aunt who raised her and seemingly cajoled by her perfectly pleasant, vaguely supportive boyfriend Ah-Shu (Wang Wei), Hsin-chieh leans towards an abortion, ending the relationship and getting a flat of her own but soon finds herself haunted by a creepy little girl and a host of other strange goings on until finally forced to face the legacy of abandonment in order to make peace with the traumatic past, ending a painful cycle of guilt and retribution in a bloody confluence of death and rebirth. Filled with surreal and nightmarish imagery, Taxi is at heart all about forgiveness and moving forward, a fitting end these four gloomy tales of supernatural harassment and guilty consciences finding at least a ray of hope in new life unburdened by fear or shame.


No. 76 Horror Bookstore: Tin of Fear streams in the US March 27 – 31 as part of the 12th season of Asian Pop-Up Cinema.

Original trailer (English / Traditional Chinese subtitles)

Han Dan (寒單, Huang Chao-liang, 2019)

Han Dan poster 1Military deity of wealth “Han Dan” is said to be afraid of the cold, so those who worship at his altar try to keep him warm with firecrackers during a ritual still practiced in the Eastern cities of Taiwan in which young men embody the god and brave the fiery assault in a daring show of their masculinity. Some volunteer to play the god for money, others for pride, and a few for atonement but there are some crimes you can’t simply burn away either with fire or by hate. The heroes of Huang Chao-liang’s Han Dan (寒單) bond through tragedy and try push past their pain through brotherhood but only one of them is aware their present relationship is founded on twisted hate fuelled revenge even as a genuine connection forms underneath.

Nerdy, earnest school-teacher-to-be Zheng-kun (George Hu Yuwei) has been fostering a lifelong crush on the girl next door, Xuan (Allison Lin), who went away to Taipei and only rarely returns home. Too shy to declare himself, he is enraged and hurt to discover that she has been secretly dating a guy they went to high school with – popular kid Ming-yi (Cheng Jen-shuo) who used to bully him for being only a trash collector’s son. Ming-yi is set to play Han Dan at this year’s Lantern Festival and his show of manly bravado is almost more than Zheng-kun can bear. In a moment of madness, he throws his lighter into a pile of firecrackers hoping to injure his rival, but Xuan runs to warn him and is caught in the crossfire. She dies from her injuries, leaving both men feeling guilty and bereft though no one else knows that it was Zheng-kun who started the fire. 

While Zheng-kun gives up on his teaching career and retreats into gloomy introspection, Ming-yi, who lost his hearing and the use of his hand in the accident, has become a drug addict and petty criminal. Riddled with guilt, Zheng-kun commits to “saving” his former enemy – locking him up while he goes cold turkey and then bringing him into the recycling business he’s started on his father’s land, but still harbours hate in his heart both for himself and for the man Ming-yi used to be.

“If only we were real friends” Zheng-kun mutters under his breath during an otherwise idyllic moment at the river. Learning more about his “blood brother”, Zheng-kun discovers that a toxic family situation is what made him such a terrible person in high school which might ordinarily have fostered compassionate forgiveness but only makes things worse for Zheng-kun who continues to hate Ming-yi to avoid having to think about how much he hates himself for what he did to Xuan. In an effort to atone, he forces himself through the Han Dan ritual year after year, scorching his body with firecrackers but finding little in the way of cathartic release.

“Feeling the pain means I’m alive” he tells a melancholy woman who seems to have had a thing for him ever since he was a shy student with a part-time job in the sleazy snack bar where she works. Now violent and angry, he’s not such a sensitive soul anymore but she loves him all the same and resents the intrusion of the late Xuan into their awkward relationship. Like the lovelorn hostess and the song they find themselves listening to, Zheng-kun too has a secret in his schoolbag that’s becoming impossible to keep but speaking it threatens to upset the carefully balanced semblance of a life that he’s forged with an oblivious, wounded Ming-yi.

Both men struggle to move on from the past, unable to forgive themselves not only for what happened to Xuan but for the choices they did or didn’t make in their youths that leave them afraid to move forward and locked into an awkward brotherhood bonded by love and hate in equal measure. A final cathartic explosion may provide a path towards a new life but only through shattering the fragile bond born of shared tragedy and irretrievable loss. A beautifully lensed morality tale, Han Dan is an acutely observed portrait of the corrosive effects of guilt and trauma but also a tragedy of misplaced male friendship as two lost souls find each other only in losing themselves as they battle the inescapable shadows of the past.


Han Dan screens as part of the 2019 New York Asian Film Festival on June 30.

Original trailer (English subtitles)