Mahjong (1996)

Mahjong is special because it turns the bustle of 1990s Taipei into a razor-edged comedy of manners, where globalization, money, and identity collide with the casual inevitability of traffic. Edward Yang directs with a precise, unshowy confidence, letting witty dialogue and sharp observation do the heavy lifting as hustlers, gangsters, and expats orbit one another in a city that feels both thrillingly modern and quietly hollow. The vibe is brisk, satirical, and a little dangerous—funny in the way real life can be when everyone’s trying to sell you something, including themselves. It isn’t a cuddly crowd-pleaser, but if you like smart, biting cinema that laughs while it cuts, this underrated Yang is a terrific bet.

Mahjong is trying to capture the moral whiplash of a modernizing Taipei, using a web of hustlers, expats, and would-be protectors to show how easily people get used and discarded. The problem is the storytelling can feel scattered, with scenes that land like sharp observations but don’t always add up to a satisfying whole. Several performances—especially from the nonprofessional Western cast—come off stiff or awkward, which can make the emotional stakes feel flatter than the material deserves. If you’re here for a tight crime plot or consistent comedic rhythm, this may test your patience, but if you like messy, idea-driven city portraits with occasional flashes of insight, there’s still something to take away.