Looking back on the career of Taiwanese auteur Hou Hsio-Hsien, it can be seen that Daughter Of The Nile (1987) is the first of three films about modern Taiwan featuring female protagonists. The other two are Good Men Good Women (which can also be see as part of a historical trilogy) and Millennium Mambo. In this film Hsiao-yang (Yang Lin), the lead in Daughter of the Nile, has lost her mother and works at KFC during the days and studies at night school and lounges around her house reading and hanging out with friends-she's living a typical contemporary lifestyle for a woman in her 20s. Her brother is petty gangster that runs a restaurant with his friends. However, she keeps house with er younger sister and grandfather-her father is doing something in the South-possibly criminally related-and only returns after being shot. Hsiao-yang can be seen as tragic because she does not make progress towards understanding and appreciating her family. However, the fact that her mother is dead, her brother is a gangster and her father is absent make shows that there is something fundamentally wrong with urban Taiwanese families (having a missing parent or parents is a strong motif in Hou’s films). However, the link between past and present and a support system suggests hope exist, even is she is not conscious of it at the end of the film. Like the other films mentioned-there is a lot of contemporary foreign music that reflects a sense of cultural identity. Furthermore, that location for a dreamed escape, which is a theme seen in the film’s title, which it shares with a Japanese manga that Hsiao-yang reads about a heroine escaping to Egypt.