Overall: Article is new enough, long enough. I prefer ALT5, but it isn't quite cited in the article (the phrasing is similar, but it doesn't say it explicitly even though the hook supports it). All of the other hooks look okay, though given how frequently B&W is used for an auteur look I'm not keen on emphasizing that part. Earwig shows no issues, but the sources are all in Chinese, so AGF there. — Chris Woodrich (talk) 00:17, 21 November 2024 (UTC)
Chris, thanks for reviewing the article! I have rephrased the line about the opening sequence to better match the phrasing of ALT5, and I am happy to go with it. Regarding ALT3, I initially chose it as a hook because b&w films are relatively uncommon in Taiwanese cinema. The last Taiwanese b&w film (to my knowledge) was the 2009 film Cannot Live Without You. But upon further reflection, I agree that b&w films are not particularly rare internationally, and this may not resonate with readers who are unfamiliar with Taiwanese cinema, so I have struck it out. —Prince of Erebor（The Book of Mazarbul） 07:25, 21 November 2024 (UTC)
^Chou, Inna (4 October 2024). "《小雁與吳愛麗》入圍釜山影展、金馬8項大獎！劇情、上映日期、預告⋯電影資訊一覽". Vogue Taiwan (in Chinese). Retrieved 15 October 2024. 導演林書宇也進一步透露拍攝《小雁與吳愛麗》的靈感，就是來自於想要和妻子夏于喬一起拍一部電影 [Director Tom Lin Shu-yu further revealed that the inspiration for Yen and Ai-Lee came from his desire to make a film with his wife, Kimi Hsia.]
^Liao, Yu-yang; Lai, Sunny (11 October 2024). "Taiwanese film wins top prize at Busan Int'l Film Festival". Focus Taiwan. Retrieved 15 October 2024. Taiwanese film "Yen and Ai-Lee" (小雁與吳愛麗) won the Busan International Film Festival's (BIFF) top prize "Kim Jiseok Award" on Friday, marking the first Taiwanese film to receive the award.
^許瑞麟 (1 October 2024). "林書宇專訪／《小雁與吳愛麗》寫過最沒把握的劇本 接受自己的「工整」：這是我的天性". Yahoo! News (in Chinese). Retrieved 14 October 2024. 「一開始在寫劇本的時候，我只是想要看到一個更生人的夏于喬，同時我也想要看到另外一個在上表演課的夏于喬，但這兩個角色是怎麼一回事，其實寫的時候我不知道。」沒想到寫著寫著，便將片中「兩個夏于喬」連結在一起，為觀眾增添了一點驚喜。 ["At the beginning of writing the script, I just wanted to see a rehabilitated Kimi Hsia, while also wanting to see another Hsia taking acting classes, but I did not know how these two characters would connect." Unexpectedly, as he continued writing, he merged the "two Kimi Hsias" into one, adding a surprise for the audience.]
^Howell, June (3 October 2024). "夏于喬、林書宇首度合作《小雁與吳愛麗》成金馬獎贏家，亮眼成績背後藏深刻夫妻相處之道：「下班就不要談公事！」". Tatler Asia (in Chinese). Retrieved 14 October 2024. 選擇黑白的視覺呈現方式，並非一個單純的美學決定，而是一種深刻情感的凝聚與放大。林書宇指出，這部電影並不是史詩般的宏大敘事，而是細膩捕捉母女之間複雜的情感流動。他認為，黑白影像能夠去除色彩的干擾，使觀眾更專注於演員的表演。 [The choice of a black-and-white visual style is not merely an aesthetic decision but a way to condense and amplify deep emotions. Tom Lin Shu-yu pointed out that this film is not an epic narrative, but rather delicately captures the complex emotional flow between a mother and daughter. He believes that black-and-white imagery removes the distraction of color, allowing the audience to focus more on the actors' performances.]
^"平衡直覺與現實，在限制中找到自由──專訪《小雁與吳愛麗》導演林書宇". Filmaholic (in Chinese). 10 October 2024. Retrieved 14 October 2024. 他親自開車到處尋找鄉鎮，一個個拍照、調成黑白看感覺，因景觀樣貌而非文化特性挑中了美濃。 [He (Tom Lin Shu-yu) personally drove around searching for towns, taking photos and adjusting them to black-and-white to gauge the feel, ultimately choosing Meinong based on its landscape rather than its cultural characteristics.]
^"平衡直覺與現實，在限制中找到自由──專訪《小雁與吳愛麗》導演林書宇". Filmaholic (in Chinese). 10 October 2024. Retrieved 14 October 2024. 本片令人印象深刻的長鏡頭開場，便是情急之下生出的靈光──原本林書宇安排很多分鏡，小雁會騎腳踏車經過夜市，鏡頭先帶到眾人看她的反應，才轉而見到小雁本人。景都勘好了，卻無奈碰上無法控制的雨，如果將就在有雨的狀況下拍了一顆，下一顆鏡頭便要考慮連戲問題，但又沒預算發水車⋯⋯。為此，林書宇連夜苦思後決定：改用一顆長鏡頭搞定，並利用多 roll 的空景時間拿來放片頭 credit。 [The film’s iconic long take opening scene was born from a moment of urgency—originally, Tom Lin Shu-yu had planned many shots where Yen would ride her bicycle through the night market, first showing the reactions of those watching before revealing Yen herself. The locations were scouted, but unfortunately, they faced uncontrollable rain; if they filmed in the rain for one shot, they would have to consider continuity for the next shot, but there was no budget for a water truck... As a result, after a night of contemplation, Lin Shu-yu decided to use a single long take to accomplish this and utilized the extra roll of empty scenery to display the opening credits.]
Article is new enough, long enough. I prefer ALT5, but it isn't quite cited in the article (the phrasing is similar, but it doesn't say it explicitly even though the hook supports it). All of the other hooks look okay, though given how frequently B&W is used for an auteur look I'm not keen on emphasizing that part. Earwig shows no issues, but the sources are all in Chinese, so AGF there. — Chris Woodrich (talk) 00:17, 21 November 2024 (UTC)