Kong bu Fen zi

Terrorizer, released in 1986, continues along the path laid out by Taipei Story. Yang, never one to back away from a complex narrative, structures the plot around six primary characters, whose lives are gradually revealed as dramatically intertwined. An upper-class young photographer and his girlfriend, a female criminal known as the White Chick; Chou and Li, a married couple on the outs; and the woman's magazine editor boyfriend form the primary nodes of this unit. Again, however, Yang is most intrigued by the dynamics of the romantic relationship, and specifically the failing relationship…[…]

The film concerns the coincidental interactions between three groups of people in Taipei: a young woman and the tough petty criminal gang of native Taiwanese she hangs out with; a Mainlander doctor and his novelist wife; and a young photographer who observes the life of the city unfolding around him, in an echo of the protagonist of Michelangelo Antonioni's Blowup. "Famously characterized by Marxist scholar Fredric Jameson as the postmodern film. The film was likened by Yang himself to a puzzle where the pleasure lies in rearranging a multitude of relationships between characters, spaces, and genres."