This article studies Hou Hsiao-Hsien's 1996 Goodbye South Goodbye and argues that it presents a range of stylistic experimentation which launches Hou's aesthetic exploration through the next stage of his work. Goodbye South Goodbye shows an end-of-the-century Taiwan poised at a moment of transition in which the center of focus shifts from one generation to another. With Goodbye, Hou eases his former preferred complex staging in depth and moves toward complex staging on reflective surfaces. Moreover, Goodbye experiments with POV shots by defining them with color and music, which has the effect of bringing the spectator closer to the characters and evokes a sense of immediacy unlike the sense of nostalgia and historical weightiness in Hou's earlier work. These filmic techniques and effects are investigated through analyses of the modes of transportation, the characters, styles, and notions of home appearing in Goodbye South Goodbye. This paper concludes with a concise survey of the new stylistic presentations undertaken by the Hou films which followed Goodbye South Goodbye.