Viktor visits Taiwan with his mother Kicki. He secretly hopes to meet the father he has never seen, but his mother’s heart is completely elsewhere. Conflicts arise between them, and as Viktor gets closer with his Taiwanese friend Didi, thus the gap between mother and son widens. This is just a sketch and somewhat boring in style, but the individual characters and character angles enhance its sensitivity. Aside from the mother-son relationship, the way in which gay emotions are evoked between Viktor and Didi are exceptional. Rather than the erotic expressions of a homosexual film, this work centers its weight on the understanding of sentiments such as trembling anticipation. This can only be accomplished by the outstanding acting of the actors. Something else noteworthy with this film is the counteractive notion that attacks the trite concepts like ‘superior West, inferior East.’ It has succeeded in escaping the West’s viewpoint of Orientalism a notch, yet is not blindly jumping to praise and worship the Orient either. It has a balance made possible because of the Director’s unique background of having acquired a variety of different cultures. The piece is really appealing as a text presenting the possibility of unity, rather than the clashing between the East and the West.