I want to preface this review by saying that I’m a huge admirer of Sean Baker’s oeuvre. I even devoted my final-year university dissertation to his (then) sex-work trilogy, and I’ve followed his career closely ever since. His breakthrough success at the Oscars this year with Anora (2024) has cemented him as a major force in contemporary cinema. So when I learned he was co-writing this project with his long-time collaborator and producer Shih-Ching Tsou, marking her directorial debut, my interest immediately spiked. I couldn’t wait to see what they created together.
The film follows a single mother and her two daughters as they relocate to Taipei to open a night-market stall, each struggling to adapt to an unfamiliar environment while trying to hold their family together. From the outset, I was reminded of The Florida Project (2017), especially in the way Baker captures childhood with such naturalism and empathy. The low-angle camerawork roots us in the perspective of the youngest daughter, I-Jing, as she races through the bustling night market—her mischief turning its neon-lit corridors into her personal playground.
Stylistically, the film sits firmly within the realm of social realism, a mode that has long captivated both Baker and Tsou and one they have consistently returned to in their work. The juxtaposition of the story’s harsher realities with the innocence and curiosity of a child at its centre makes the emotional impact even more potent.
The cinematography, however, is what struck me most. Despite focusing on a lower-income family, the visuals are vivid and immersive, drenched in vibrant neon that completely transports you to Taipei. The film depicts a world far removed from Western norms, one where a child can casually buy cigarettes or keep a meerkat as a pet, and these cultural differences are rendered with authenticity and striking visual flair.
The writing in this film is masterful, and it’s clear that Tsou and Baker make an exceptional creative team. Their script weaves together melodrama and the sharp, often humorous beats Baker is known for, while also allowing space for tender, innocent moments with the children. The balance feels effortless. And when the film’s twist arrived, it genuinely caught me off guard, I never saw it coming.
The performances in this film are outstanding. The true standouts for me were the sister duo played by Nina-Ye and Shih-Yuan Ma. I’m genuinely in awe of Shih-Yuan Ma, especially considering this is her first acting credit. She fully inhabits the role, delivering what I believe is one of the strongest performances of the year, and I’m surprised she isn’t receiving more recognition for it. Nina-Ye, meanwhile, offers one of the most impressive child performances I’ve ever seen. She commands the screen in every moment, conveying an extraordinary emotional range with remarkable nuance. Both actresses clearly have incredibly bright futures ahead of them.
Overall, this film is exceptional. It’s hard to believe it marks a directorial debut. The entire cast and crew should be enormously proud of what they’ve created, it’s a genuine gem that showcases tremendous promise for everyone involved.
Left-Handed Girl is now streaming on Netflix.
Megan Hilborne (Instagram: meghillbilly) is a freelance writer and film critic based in Portsmouth. She graduated with a degree in Film in 2020 and has continued her study of the medium in her day-to-day life. She takes particular interest in indie, horror, feminist and queer cinema.
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