The new film by Hou Hsiao-hsien is a beautiful and complicated work that continues Hou's exploration of human nature set against contemporary Taiwanese history. The film shifts among three layers. One is the present-day life of actress Liang Ching. Liang is rehearsing for a role in a film titled Good Men, Good Women, about the real-life husband-and-wife heroes, Chung Hao-tung and Chiang Bi-yu, who fought as anti-Japanese guerrillas in China but were later persecuted for their left-wing beliefs in Taiwan. Overtaxed by grueling rehearsals, Liang becomes obsessed with the role of Chiang and starts to visualize the film in her mind. This imaginary projection comprises the second layer of Good Men, Good Women, rendered in black and white?.The third layer focuses on Liang's recent past. A stranger has stolen her diary and faxes pages back to her. This triggers memories of (her own stormy past). What passions drive Liang? Are they the same utopian ideals that drove Chung and Chiang to risk death for heir beliefs? Hou frames these questions against the relationship between contemporary Taiwanese society and the tumultuous events of Taiwan's formation. What will drive the actions of good men and good women at the next critical juncture?