The "A One & A Two: Edward Yang Retrospective" originated in 2019 when Ms. Peng Kai-li, a concert pianist and the wife of director Edward Yang (1947-2007), entrusted over 2,000 unreleased artifacts related to Yang to the Taiwan Film and Audiovisual Institute. These artifacts include manuscripts, notes, filming proposals, scripts, letters, documents, audiovisual materials, props, etc., representing the creative trajectory of Yang's various life stages.

As one of the Taiwan New Cinema movement’s prominent figures, Edward Yang stands as an internationally acclaimed filmmaker, garnering numerous accolades for his artistic contributions. His oeuvre, characterized by its distinct modernistic sensibilities, is praised as precise surgical tools that dissect the alienation and hypocrisy of contemporary society. Within his cinematic exploration, the intricacies of emotions and love intertwine with the profound and ceaseless quest for the essence of life itself.

The film program presents three sections: "A One: The Rational Soul," "A Two: Edward Yang's Top 10," and "Special Screenings." By exploring the artifacts left by Edward Yang, we attain a deeper understanding of how his characters are intricately constructed. Within cinematic storytelling, he breathes life into his characters, infusing them with vitality, emotions, and a sense of realism. His early affinity for comics and the impact of influential cinematic masterpieces have significantly shaped his cinematic vision. The film retrospective endeavors to engross participants in Yang's extensive body of work through curated screenings, lectures, and showcases of archival materials. This program provides an unparalleled opportunity to revisit and reimagine his cinematic universe. Moreover, this retrospective synergistically aligns with the Taipei Fine Arts Museum exhibition, creating a comprehensive and heartfelt homage to the renowned soulful pioneer of Taiwan New Cinema, Edward Yang.

"Well, whenever someone asks me how I ended up on this path of filmmaking, I find the question itself quite interesting. They always say 'this path of filmmaking' and use the word 'walk.' And that's right. Back then, I was like sitting in a spacious and comfortable air-conditioned car, and suddenly I realized that the car wouldn't stop until the final destination. How boring! So, I jumped off the car, and till this day, I'm still walking, walking this path." This is what the young Edward Yang, who transitioned from computer engineering to filmmaking in 1985, said.*

To this day, Edward Yang's immortal cinematic works continue to traverse, persistently walking this path.

*Edward Yang, excerpt from “Rebel's Departure: Edward Yang’s Journey from Computer to Cinema,” In PEOPLE Magazine. (Taipei, 1985), pp.128-129.