Three Times

Davies treats memory as a series of suspended tableaux soaked in popular song, refusing narrative momentum in favor of emotional sediment. Like Hou, he believes that a particular slant of light through a particular decade carries more truth than plot.

Morgan situates a love triangle inside the formal corseting of 1956 BBC newsrooms, where Suez-era anxieties and gendered protocol throttle every confession. The series shares Hou's interest in how institutional period-specific etiquette becomes the real architecture of feeling.

Han triangulates a single woman's refusal through three narrators across three sections, each revealing how era and proximity warp the same act of resistance into different stories. The triptych form, like Hou's, insists that identity fractures depending on who is watching and when.

Pontes revives fado's saudade by routing centuries of maritime longing through a single contemporary voice, demonstrating how a national emotional vocabulary survives translation across decades. Like Three Times, the work understands that certain feelings exist only because particular histories taught a people how to feel them.

Takahata renders a thousand-year-old folktale in trembling brushwork that lets each era of a woman's life dissolve into the next, treating the body as a vessel briefly inhabited. The film shares Hou's understanding that a single soul can only be glimpsed obliquely, through the periods it must pass through.