(First and foremost, hope everyone had a lovely Good Friday.)
To remark on Edward Yang’s proneness to create “distance” in his work requires a clarification, a sort of sifting through this word’s many connotations. When he made his films distant, he was not making them a cold, unsympathetic experience (the way you’d tell a person “you’re being distant”). He also never approached his films in a vague manner, removed and “distant” as a connecting attribute rather than severing (“he’s a…