Mahjong

Each member of a family in Taipei asks hard questions about life's meaning as they live through everyday quandaries.

The lives of a couple, an amateur photographer and an injured girl intertwine.

After firing a colleague, the head of a PR company begins to question her lifestyle and values.

Filmed performance of Yang's one-act two-character play which shifts back and forth from comedy to much darker tones as a married couple try to figure out what to do with the body of a man the wife has killed in their kitchen.

A boy experiences first love, friendships and injustices growing up in 1960s Taiwan.

Two friends who haven't seen each other for thirteen years reunite. One is a successful concert pianist just back from a European tour and the other has just started a new business.

A young woman urgently seeks to navigate the maze of contemporary Taipei and find a future. She hopes that her boyfriend Lung is the key to the future, but Lung is stuck in a past that combines baseball and traditional loyalty that leads him to squander his nest egg bailing her father out of financial trouble.

Made one year before the better-known omnibus film The Sandwich Man, In Our Time is the work that first announced the coming of the New Taiwan Cinema. Consisting of four segments, each set in different decades from the 1950s through the 1980s, and dealing with protagonists at different stages of life between childhood and young adulthood. Yang’s made his cinematic debut with the second segment, “Expectations,” the story of an adolescent girl in the 1960s whose life is given a jolt by the arrival of a slightly older male student as a lodger in her house. Taken as a whole, In Our Time announces the ambition of the New Taiwan Cinema: to eschew studio-bound escapism and melodrama in favor of a hard-hitting cinema grounded in everyday life. (Harvard Film Archive)

The tale of a country girl who comes to Taipei with dreams of entering the entertainment industry. A 2-part TV movie and part of groundbreaking series "Eleven Women," this is Edward Yang's directorial debut.