It was May, 1995. The weather was gloomy throughout the whole month. I was polishing the final draft of the script of Temptress Moon. As I wrote, I was listening to a recording of Keith Jarrett's concert in Vienna. His immensely powerful and emotional music helped me draw myself closer to the tormented and violent state of mind of the characters from, as well as the 'climate' of the social background of the film. All of a sudden, I found the style of the film.

Temptress Moon can be seen as a pure psychological drama, a story about male chauvinism and Chinese hierarchy, or a film about the coming of age of a woman. But most importantly, this is a story about comtemporary China, despite its specific background, I've tried to relate this by describing a love story between a man and a woman, without losing sight of the confusion, pain and loss of dreams of the people living in a tumultuous age.