Edward Yang worked in the tradition Ozu defined and Yi Yi is the clearest case of it: an extended family across three generations, a death that reorganises everyone's obligations, and a camera that stays still and at a distance while people fail each other politely. Both films give their most honest scene to the member of the family with the least power, Ozu's widowed daughter-in-law and Yang's small boy with the camera, and both refuse to underline it.