Left-Handed Girl is a new film that premiered in the Critics’ Week section of the 2025 Cannes Film Festival before receiving a limited theatrical release on November 14. It is scheduled to debut on Netflix on November 28. The film is Taiwan’s official submission for Best International Feature Film at the upcoming Oscars. Written by Shih-Ching Tsou and Shaun Baker, and directed by Tsou, the film stars Janel Tsai, Shih-Yuan Ma, Nina Ye, Brando Huang, Akio Chen, and Xin-Yan Chao. The story follows a single mother and her two daughters as they relocate to Taipei to open a night market stall, each struggling to adapt to their new environment while striving to preserve their family unity.

Given Shaun Baker’s involvement as co-writer, co-producer, and editor—fresh off multiple Oscar wins this year—it felt like a no-brainer that this was a film I needed to see. Surprisingly, however, the movie has been receiving far less attention than expected. Although its critical reception has been positive, it doesn’t seem to be generating much conversation. International films often face unpredictable visibility with audiences; it sometimes takes a phenomenon like Parasite to break through to widespread recognition. I hope Left-Handed Girl finds that kind of reach, because it contains all the elements of a Shaun Baker film that could resonate universally.

Admittedly, I ended up watching the film twice. On my first viewing, I kept noticing parallels to one of Baker’s earlier films, The Florida Project. Combined with the fact that I got distracted during the second half, I walked away remembering very little. I knew I liked it, but it wasn’t until my second viewing that the film truly clicked for me. I began noticing nuances that deepened my appreciation. While it shares some similarities with The Florida Project—particularly in its focus on family dynamics—it ultimately distinguishes itself thematically in ways that make it feel even more universal.

The film engages with themes of culture and global issues, grounding its story in experiences that resonate across borders. Inflation, for example, is a struggle faced by nearly every character in the film—and by people worldwide. It’s an immediate, relatable hook that draws viewers in. As the narrative unfolds, the characters’ choices become increasingly understandable and emotionally compelling. And without revealing any spoilers, there’s a late-film twist that reframes everything that came before it, making my second watch all the more rewarding.

Nina Ye shines as the titular left-handed girl, delivering one of the year’s most endearing performances. As someone who is also left-handed, I immediately connected with her character. Even though I grew up in a different part of the world, I remember the strange looks and small judgments that came simply from using a different dominant hand. That personal connection made it easy for me to stay invested. Ye conveys her character’s complex emotions with remarkable subtlety—often without saying a word. While the entire cast is excellent, it’s Ye’s performance that anchors the film and allows its themes to resonate. Her portrayal brings warmth, humor, and emotional honesty to a story that is both dramatically grounded and quietly funny.

The film also employs a distinctive visual style that gives it a documentary-like feel. In many ways, watching it as though it were a documentary makes the experience even more affecting. The cinematography positions you as a fly on the wall, observing these characters as they navigate difficult choices shaped by their environment. This approach serves a clear purpose: it invites viewers into a different corner of the world and offers a fresh, intimate perspective on the lives within it.

The score evokes a sense of childlike wonder, perfectly capturing the world through the young girl’s eyes. It makes her surroundings feel innocent and pure, reflecting the experience of still being a child while navigating adult-like challenges. At times, the film is haunting, particularly when the girl genuinely believes her left hand is “evil.” Yet, through moments of honest vulnerability, the story reassures us that it’s okay to live with our own flaws.

That said, there are moments that echo Baker’s earlier work, such as The Florida Project, which can occasionally drift into familiar territory. In particular, the older sister’s storyline sometimes feels overly dramatic, shaped by the questionable influences around her. While the motivations behind her actions are understandable, her arc could have explored a slightly different path. The film also experiences minor pacing issues; at one hour and 48 minutes, trimming certain subplots might have tightened the narrative and improved its overall flow.

Overall, Left-Handed Girl succeeds in its exploration of themes and its strong performances, bolstered by Shaun Baker’s involvement. While there are echoes of his earlier films, they largely work in this context, adding depth rather than distraction. The film leaves a lasting impression, inviting viewers to feel seen, connected, and deeply understood.

VERDICT: 4/5 – Great