Veteran screenwriter Ko Shu-ching, mostly known for her collaborations with Lin Cheng-sheng, developed her own story in 1990, which was finally brought to the screen two decades later. The narrative unfolds in the early 1990s in Lishan, a mountainous region 2,000 meters above sea level in Taiwan.
Echo is available from Echelon Studios
This is where university student A-Ying returns to visit her father, Chen Tian-yao, who runs a fertilizer shop. She carries with her a personal secret that no one knows about. During her stay, she becomes aware of the subtle tensions between her father and his rival Wang, who profits by diluting fertilizer and undercutting prices, while many local fruit farmers still rely on chicken manure. Tian-yao also regularly argues with his second wife, Yi-ching, who is heavily pregnant. Their disagreements often center on his treatment of the struggling farmers. Yet despite their quarrels, there is genuine affection between them, even as he spends an inordinate amount of time playing coin-operated lottery machines at a local parlor.
A-Ying also develops a connection with Ah Wen, a young, inexperienced fruit farmer uncertain whether Lishan is where he truly belongs. While there are romantic undertones to their relationship, it functions more as a partnership rooted in shared experiences and responsibilities. As the summer progresses, A-Ying is compelled to confront her secret, while her father takes interest in a new German-imported fertilizer.
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To start with the limitations, a degree of familiarity with agricultural life may be necessary to fully grasp certain story elements. Ko Shu-ching doesn’t spend much time explaining the practicalities or context. Additionally, while the story is set in the 1990s, aspects of the setting and visuals might suggest a later period, which could either be a shortcoming in production design or an intentional comment on the stagnation of rural development. Finally, the absence of a musical score in key scenes is felt strongly, leaving some moments emotionally flat.
Despite these issues, “Echo” contains many notable strengths. The dual ecosystems at the heart of the narrative, the familial and the communal, are both thoughtfully explored. On the domestic side, the mix of affection and conflict results in a compelling, realistic portrayal of family dynamics. The depiction of pregnancy, shown through two contrasting experiences, emerges as a subtle but clever thematic thread.
On the community level, the shared struggles and camaraderie, along with the inevitable tensions, highlight how rural society can mirror family structures. The script also addresses broader societal issues, long-standing grudges, rural isolation, and the lingering weight of local gossip, all adding depth and authenticity. The understated bond between A-Ying and Ah Wen also enriches the story, as their cautious connection evolves through mutual understanding rather than melodrama.
These elements are elevated by the performances. Lu Hsia as A-Ying is radiant throughout, her quiet presence and expressive smiles making her immensely likable. Chen Tai-hua as Ah Wen is more restrained in delivery, but the chemistry between the two compensates. King Jieh-wen impresses as Tian-yao, portraying a volatile yet affectionate man with great nuance. His scenes with Lu Hsia are among the most engaging. Winnie Shih-Ying Chang delivers a convincing performance as Yi-ching, while Yang Kuei-mei, playing Abura, a local matriarch, eloquently emphasizes the influence women can hold in close-knit communities.
Chao Wei-chieh’s cinematography captures the mountain scenery and seasonal changes with sincerity and occasional bursts of beauty, particularly in the still frames of crops and landscapes. The coloring further enhances the earthy atmosphere. The editing maintains a moderate pace that suits the rural setting, although some narrative threads could have benefited from deeper exploration.
While “Echo” is not without its flaws, the overall experience is a rewarding one, particularly for those attuned to its quiet social observations and textured character dynamics.
