Taipei 21

Twentysomethings Jean and Hong have been together for seven years now. Their relationship is going nowhere in particular, talk of getting a place together and/or moving abroad remaining precisely that.

Then, in a bid to move the relationship along, Jean goes to put a down payment on an apartment. Hong, however, is unsupportive. Where will they find the money, given that he's already working two jobs - estate agent and barman in what amounts to an escort agency - and has enough trouble making ends meet as it is?

Thus the couple drift apart and explore their mutual and individual options, with Jean attempting to hook up with a rich businessman client, whose estranged wife and daughter are both abroad, and Hong finding himself responsible for getting rich Japanese Toshi to buy a property.

Will they come together or not?

Watch and find out...

Really, do, for if Taiwanese writer/director Alex Yang's sophomore feature lacks the ambitious scale of his debut, The Trigger, it nonetheless works beautifully in its own terms.

Barring a few self-conscious moments - that Toshi's ostensible interest in Taiwan is through its cinema, though thankfully his real motives finally give the lie here; or the overly schematic juxtaposition and repetition of certain key lines and situations - there's scarcely a moment to fault here, with writing, direction - reliant on decor, props and subtle mise en scene rather than showiness - and performances - otherwise utterly assured and believable.

Specific and general themes - the distinctive position of Taiwan, as that Western-looking capitalist enclave situated against a putatively communist China, wherein it is actually a crime to refer to Taiwan per se, against the universal struggles of the young to find their place in the world and come to terms with love and responsibilities - are likewise perfectly balanced. Thus, somehow, the discussion of otherwise familiar dramatic material - conflicts between love and money, male and female, self and other - are rendered fresh and invigorating.

Mark this one down as a minor key triumph for situation-based, observational and humanistic filmmaking.