This is the shortest, simplest segment of “Yi Yi,” with almost no dialogue, but it’s lovely.

We see these amazing glass boxes, skyscrapers zooming by, observed by train. It doesn’t look so different from Taipei and that is intentional. Edward Yang noted that Taipei’s first grow spurt happened during Japanese rule and the city looks quite a bit like Toyko.

The only difference is the trains. Taipei had an elaborate above ground train system, but it slowly gave way to elevated highways and (Yang’s pet peeve) the subway system. So as NJ is observing the Taipei-like buildings through the window of a train, it’s like he’s time traveling. He’s experiencing the Taipei of the present as if it kept the trains of the past.

These movements of beautiful geometry are scored with quiet, elegant piano music. This makes it all seem like a chapter break in the movie — which is completely appropriate, given what’s to come.

As soon as NJ arrives at his hotel, he sees Sherry and they embrace. He asks how she got to Tokyo so fast and she says how great it is that there are so many flights between Chicago and Tokyo. I find that line ironic, because the one time I’ve flown from Chicago to Tokyo, I had to go by way of Detroit.

They go inside the hotel and meet up with Ota, who says they can settle all business terms in one dinner meeting later in NJ’s trip. For now, he proclaims that Sherry is NJ’s music, and even though he has only met him twice, he knows everything about him.

The scene ends with NJ suggesting he and Sherry go visit her father’s school.