I’ve spent the past couple days catching up on the films of the late Edward Yang, the Taiwanese filmmaker best known for “Yi Yi” and “A Brighter Summer Day.” I’ve dived into his filmography, watching “Taipei Story,” “Terrorizers” and “A Confucian Confusion.”

None of his films are alike and they’re all tremendous, it’s one of the most impressive bodies of work I’ve come across. There are other films in the “Taiwan New Cinema” that lasted from roughly the mid 1980s until the early 2000s and one other major director, Hou Hsiao-hsien, but to me, Yang is the clear master of Taiwanese cinema.

I’ll have more to write about these films in the weeks ahead. After I finish up “In the Mood for Love,” I’m going to move on to “Yi Yi.”

It boggles my mind that both of those films premiered at the 2000 Cannes film festival — and neither was awarded the Palme d’Or, which went to Lars von Trier’s “Dancer in the Dark.” In a sense, I get it. Watching “In the Mood for Love” for the first time, a viewer might wonder if the movie is all flash (definitely not the case — it gets richer the more closely you imagine it.) And watching “Yi Yi” for the first time feels a bit like skimming a novel. You have to absorb this film to appreciate how great it is.

In addition to this, I’m thinking of a piece about Taiwanese cinema more broadly. More to come on this as well.