This is not a great film but quietly effective nevertheless. Little happens in the traditional sense for this is more or less set within a cramped space within a small holding. We see a young girl looking after her younger sister, her father, to some extent her grandfather whilst also trying to reign in the criminal tendencies of her older brother who is ever chasing off to Taiwan's capital Taipei. The neon streaked streets and cafes and restaurants contrast with the dull domestic life but it is the static way these scenes are shot that gives the film its distinct look. We see part of a room, some of it reflected, perhaps a half opened door and people move in and out of frame. At times this appears to be some non narrative experimental film but just enough information is provided to maintain our interest and keep the film moving forward. Just about anyway!

A very slow, offbeat, realistic and beautiful movie. Not for everyone, this is for those who enjoy out of the box dramas. Really loved it. The film deals basically the struggles of a small family. If you get into the characters, this film will give you an unforgettable experience.

Another early Hsiso-Hsien Hou film that reveals his great capacity for tenderness and for getting deep inside the family psyche, in this case a family living on the margins. Lin is the "Daughter of the Nile" of the title, a fantasy character in a graphic novel she's readiing. In reality she's the oldest sister in a family of petty criminals, struggling with her education as well as her background and almost everything is seen through her eyes.

The plot hardly matters; this is an observation of life in a very westernized Taipei in the eighties; we could be almost anywhere in America or in any UK city where people steal for a living and call it work and even back in the eighties it was clear that Hsiso-Hsien was a master filmmaker and a great director of actors. The performances here are beautifully naturalistic with Lin Yang outstanding in the lead. It's a little rough around the edges, perhaps and maybe a little too indebted to Ozu's style of filmmaking but it remains an essential work in the director's canon nevertheless and shouldn't be missed.