Edward Yang’s cinematic swan song, released at the turn of the millennium, is a moving tapestry that weaves together the dissolution and reconstitution of the fragile subjectivities in an increasingly global, capitalist and mediated urban society. Yi Yi opens with a wedding and ends with a funeral. What unfolds between love and death is everything that saturates

Similar to Hou Hsiao-Hsien’s A City of Sadness (1989), A Brighter Summer Day also traces the experiences of a large family during a critical historical epoch in Taiwan. Set in the early 1960s, against the backdrop of a society witnessing the consequences of major demographic shifts and political oppression, this film depicts the difficult trials awaiting the simple and harmonious life

A satirical comedy with biting wit and a romance that is equally suspicious of and hopeful about love, this film ambitiously negotiates the coexistence of Confucianism with capitalism and democracy. In what feels like a second take of his Taipei Story, Yang stages a frantic tango that is danced not with two but twelve. A circle of closely

Mahjong is a game for four players, and the one who first collects winning sets of tiles wins. But the real game lies not in these rectangular pieces per se, but in deliberating what one already has and could afford to discard or how to acquire from others what one desires but does not yet

Characterized as “Yang’s most difficult, intellectually provocative, and structurally challenging film” (John Anderson), Edward Yang’s third feature-length film is a puzzle with immense reverberatory power. The Terrorizers depicts the intertwining of love and death among three different couples: a young photographer and his literary girlfriend; a middle-class and middle-aged married couple whose mutual estrangement grows to the