Evan Yang (Yen-Chi Yang, 1920~1978), a man of letters coming from China and taking an early migration in Hong Kong, writes and directs nearly ninety movies in his whole life. In his movies, the nightclub setting serves as a common background to get the plot moving. But the setting not only occurs in movies but in autobiography. Evan Yang’s Autobiography (2009), which is recently published, reveals abundant sensual descriptions; the setting of the nightclubs is also highlighted in his words. If one relates Yang’s movies to autobiography, certain intertextuality can be found in three different sites—movies, autobiography, and his personal life. Accordingly, the setting of the nightclubs functions as the metaphor of Evan Yang’s life-versus-movies. But how does the director apply movie technology in his aesthetic practice? To examine his application of the nightclub setting, the paper will use Paul Rodaway’s ideas as the line of approach. To Rodaway, each sense locates the body’s space; certain functions will be created thereby. And in Yang’s movies, Rodaway’s idea will help the paper to read the interweaving relation between the nightclub setting and Yang’s narratives, camera lens, language, and senses. With his three movies—Mambo Girl (1957), It’s Always Spring (1962), and Spring-Time Affairs (1968)—as analytical texts, the paper will explore how Yang compares the nightclub setting, a kind of sensual narrative, with real life. In this comparison, what the nightclub movies show and how those movies are measured in his life, will be illustrated. Then, the paper will prove how the director/author, in the face of all the encounters with life’s change, exemplifies his aesthetic interior and manner of practice. That is, with his regard of both real life and sensual imagery space in the text Evan Yang’s Autobiography, Yang does create an effect of parallel shadows.