在纪念侯麦的短片中，戈达尔巧妙地嵌入了两项明确但又略带神秘的信息。首先，侯麦个人照片；其次，《纪念侯麦》采用贝多芬《克罗采奏鸣曲》作为背景音乐，这正是戈达尔回忆他与侯麦之间友谊的方式——戈达尔参与并出演了这部短片。与戈达尔和特吕弗等更直接在电影中展现自己的做法不同，侯麦相对较少将自己暴露在电影中，这可能与他的顾忌有关——担心家人会因为他涉足电影圈而责备他。在1950年代初，他以笔名“艾力克?侯麦”进行掩饰，因此我们很难从作品了解他的私下情况，即使他也很少在自己作品中出现。

然而，他却常是早期短片的主角，想必是为了节省预算之故。《引见》的得益于这种节约手法，让他更早的一部作品重新配音后上映。这部片拍摄于1951年，与同事们相比显得过早，可见侯麦很早就展现出了对拍电影的执著。

然而，《纪念侯麦》有一段还提及了《苏珊娜的故事》中男主角在一场戏中的行动，在篇幅这么短的情景剧集中，特地花这个篇幅，难道想暗示主角与侯麦之间的关连性？或仅仅只是为了提醒观众“第一部”真正的侯麦电影？

从短片便已能完全看出侯 麦作品基本美学。包括像《引见》，片中的沃尔特向即将离开瑞士夏洛介绍一位女孩克拉拉（后来由安娜·卡里纳配音），试图以克拉拉让夏洛吃醋。影片讲述这么微不足道的小故事，使得把它后的长片简述成故事大纲，也让人有同样的感觉，这也是为何，一本关于houmaki 的论著要将书名取为“也许没有故事”。

houmaki善用雪地特点，让黑白参与情节。不难想像，也许三个人真的穿着没什么颜色的衣服，以衬托出这部黑白画面的影像，一如他后来的解释——他想象这个故事适合黑白画面，因此拍成了黑白，并且为了突出黑白，让主要人物只穿着白、灰、黑色衣物。

《狮子星座》的讽刺是在于houmaki持续拍短片主要跟被“赶出”《电影手册》有关。在让·杜谢最近一篇访谈中指出，由于里维特想要加入更多当代元素到 《手册》，导致与坚守纯粹电影论述的人houmaki产生分歧，最终里维特背叛houmaki，将其彻底除名于1963年7月。他随后推出了两部“道德系列”短片，以及许多电视工作所产生的大量记录性质的小品作。

不过，从这一年起，houmaki开始使用新的策略：主题、风格由作者自己为观众建立好。这是一种作者策略，便成为某种小类型，以累积它们基本观众，为铁粉奠定基础。这也解释了为什么houmakibeen so quickly able to establish his own “groupie group”: a small but dedicated following of actors and actresses who appear in multiple films.

This is because earlier in the same series, in "The Flight of the Swan" (1981), we had already seen the same actress, Anne Wiazemsky, playing an indecisive woman between two men. This was not just a matter of casting; it was a deliberate choice that created a sense of continuity between the films. The characters were not just random people; they were connected by their relationships with each other.

In this way, Hou Hsiao-hsien's films became like a series of interconnected stories or anecdotes that explored themes such as love and jealousy. They were not just individual films; they were part of a larger narrative that unfolded over time.

And yet, despite all this planning and intentionality, there was also something accidental about Hou Hsiao-hsien's work. His films often felt like fragments or glimpses into lives rather than fully formed narratives. This was partly due to his use of location shooting and non-professional actors, which gave his films an immediacy and authenticity that other filmmakers could only dream of achieving.

But it was also due to Hou Hsiao-hsien's own vision and style as a filmmaker. He did not believe in telling stories through dialogue or exposition; instead he relied on visual elements such as lighting, color palette