Curent Project: Krzysztof Kieslowski

I closed the last section by noting how the family crisis affected members of the family, but did not include Yang-Yang. The crisis actually doesn’t affect Yang-Yang terribly, at least not at first, and this short segment is devoted entirely to him. Yang-Yang is the most philosophical character in

Now that Edward Yang has set up the family — and introduced some minor tension into it — it’s time to throw the Jians into crisis. We begin with another car ride, this one with N.J., Min-Min, Ting-Ting and Yang-Yang. Except they are separate, lost in their own worlds. N.

I read an interview with “Drive My Car” director Ryusuke Hamaguchi where he explained why he loves having in-car discussions in his movies. He thinks people are more relaxed and primed to be candid when they are alone in a car together. Edward Yang liked car scenes as well, and

On the taxi ride back to the family apartment, the grandmother at first looks pleased, happy to have escaped the chaos. But the camera stays on her and her expression subtly changes to something more melancholy. This is a feature of Yang’s method — he likes to give actors very

Yang-Yang: Daddy, I can’t see what you see and you can’t see what I see. How can I know what you see? NJ: Good question, I never thought of that. That is why we need a camera. Do you want to play with one? Yang-Yang: Daddy, can we

My next film project will be Edward Yang’s 2000 masterpiece “Yi Yi,” a movie that I’ve seen four times that gets richer and deeper — while feeling shorter — every time I watch it. “Yi Yi” can seem intimidating at first glance. It’s a nearly three hour movie, and