當我們聽到「臺灣新電影」這個詞，腦海立即浮現如下的畫面：侯孝賢《童年往事》中的鄉村生活、楊德昌《恐怖份子》裡的冷冽都市景觀、李安早期電影中的父子關係，以及蔡明亮作品裡無以復加的緩慢敘事；我們也無法不被這些電影如何反思臺灣的歷史與當下、人情的交匯與疏離所感動。如今，臺灣新電影的軟實力繼續以「小清新」的校園電影豐富我們的思想與感情。

When we hear the term Taiwan New Cinema, our minds immediate conjure images of rural childhood in Hou Hsiao-hsien’s A Time to Live, a Time to Die, cold cityscapes in Edward Yang’s The Terrorizers, father-and-son relationships in Ang Lee’s early films and impossibly slow narratives in Tsai Ming-liang’s body of work. We also cannot help but be moved by the reflection of Taiwan’s past and its present as much as by the human interaction and alienation presented in these films. Taiwan New Cinema has enriched both our minds and our hearts through its soft power, now through the subculture of “little freshness” in coming-of-age stories set in high school campuses.