Edward Yang's penultimate film is an acerbic, sprawling tragicomedy, a poison love letter to Taipei as a rising cosmopolis of big money, big dreams, and big cons. Once more focusing on directionless youth, Yang depicts the four immature toughs who share the same apartment and, frequently, the same women. Led by the amoral Red Fish (Tang Tsung-sheng), the crew implements a slate of swindles and illicit business deals aimed at naive foreigners—including French teenager Marthe (Virginie Ledoyen), who is looking to reconnect with her older English lover (Nick Erickson)—and superstitious gold diggers (Carrie Ng). But when mobsters seek to collect on a debt owed by Red Fish's ex-criminal father (Chang Kuo-chu), they accidentally abduct translator Luen-Luen (Lawrence Ko), the only crew member with scruples and, seemingly, an ounce of compassion. In several intertwined tales of greed, violence, and shattered principles, Mahjong examines how a city can grow in power and wealth while abandoning its heart and soul.

Among the most praised and sought-after titles in all contemporary film, this singular masterpiece of Taiwanese cinema, directed by Edward Yang is finally available for US audiences. Set in the early sixties in Taiwan, A Brighter Summer Day is based on the true story of a crime that rocked the nation. A film of both sprawling scope and tender intimacy, this novelistic, patiently observed epic centers on the gradual, inexorable fall of a young teenager (Chen Chang, in his first role) from innocence to juvenile delinquency, and is set against a simmering backdrop of restless youth, rock and roll, and political turmoil.

Art versus commerce, friendship versus status, independence versus conformity—values clash and collide in Edward Yang's study of an increasingly Westernized country heading into the twenty-first century without moral guideposts. Moving from breakout hit A Brighter Summer Day's investigation of the past to a critical survey of the present, A Confucian Confusion charts the tangled web of emotional and professional manipulations among a group of young urbanites. At its center is Molly (Ni Shu-chun), director of a floundering public-relations firm. Alienated by the childish fiancé (Bosen Wang) who bankrolls her enterprise—and frustrated by the demands of an assistant, Qiqi (Chen Shiang-chyi), and her own fiancé, Ming (Wang Wei-ming)—Molly lashes out at everyone in her path and threatens to dismantle the company altogether. Meanwhile (amid several other subplots), Molly's talk-show-host sister (Chen Li-mei) attempts to dissuade her separated husband from continuing to write a dark novel about the return of Confucius to a jaded modern society. Injecting comedic elements into his patented brand of earnest soul-searching, Yang finds humor as well as pathos in the desperate behavior of a lost and lonely generation.

Edward Yang's second feature is a mournful anatomy of a city caught between the past and the present. Made in collaboration with Yang's fellow New Taiwan Cinema master Hou Hsiao-hsien, TAIPEI STORY chronicles the growing estrangement between a washed-up baseball player (Hou, in a rare on-screen performance) working in his family's textile business and his girlfriend (Tsai Chin), who clings to the upward mobility of her career in property development. As the couple's dreams of marriage and emigration begin to unravel, Yang's gaze illuminates the precariousness of domestic life and the desperation of Taiwan's globalised modernity.

The extraordinary, internationally embraced Yi Yi (A One and a Two . . .), directed by the late Taiwanese master Edward Yang, follows a middle-class family in Taipei over the course of one year, beginning with a wedding and ending with a funeral. Whether chronicling middle-age father NJ's tentative flirtations with an old flame or precocious young son Yang-Yang's attempts at capturing reality with his beloved camera, the filmmaker deftly imbues every gorgeous frame with a compassionate clarity. Warm, sprawling, and dazzling, this intimate epic is one of the undisputed masterworks of the new century.