Edward Yang’s beloved final completed film blends the critical eye of his “Taipei trilogy” with a gentler version of his trenchant, stinging comedies. Yang’s remarkable eye for detail is evident throughout Yi Yi’s sensitive chronicle of an upper-middle class Taiwanese family shaken by a series of unexpected— yet, in retrospect, clearly inevitable— events. As the middle-aged parents ruminate over past decisions and grow anxious for the future, their children grapple with the burdens of growing up. Like so many of Yang’s films, Yi Yi is a carefully orchestrated, almost musical ensemble piece that masterfully interweaves its characters rather in the manner of Renoir’s Rules of the Game. And like Renoir, Yang reveals himself to be a consummate observer of behavior, able to discern the comic and the tragic sides of the human predicament. Disappointed by the tepid reviews and general indifference given to his life’s work, Yang refused to release Yi Yi in Taiwan where, to this day, it has not screened theatrically.