Yi yi - E uno... e due!

The action takes place in Taipei like it could take place in any other modern town of this world because the dramas that occur in our urban bourgeois society are the same everywhere. In fact we see here a very westernized society in terms of values and living standards both material and moral. The movie develops itself in a succession of apparently incoherent sequences which nevertheless are bound by a conducting wire that has much to do with life in itself concerning a chain of different generations, from the dying grandmother to the small boy who is not the less important character here. This succession reminds us of Godard's movies though this one and the sequences themselves are full of meaning. Even the silences they contain are very eloquent sometimes. The scenery is usually very neat, clear and quiet in terms of furniture, urban views and people and camera movements which doesn't make the story less dramatic at all. Particularly interesting and very well shown is the counterpoint between the love meetings of teenagers and the meeting of the fourtyish couple of the former lovers who meet for the first time again 30 years after their courtship had been broken in dramatic circumstances. Problems concerning the meaning of life and the real nature of love are shown mainly through the very incisive dialogues making us thinking once more that love is a much more complicated thing than romanticism depicts. It has features and ups and downs that remain unexplained sometimes. This movie is one of the most significant ones I have seen in which concerns human nature and its conflict with the values of modern bourgeois society on the one hand and also universal values of all times on the other. We watch here problems of children and teenagers but also of adults either marital, professional or spiritual. And all this told in a smooth and quiet way portraying normal people leading normal lives. This movie presents itself indeed like a kaleidoscope of real nowadays life.

This insightful, beautifully written and directed film contemplates on many things concerning the modern individual. The focus is a family in Taipei, the feelings, struggles, conflicts of family members at different life stages. The architecture is used as a part of the story, the surroundings the characters are in, always seem to tell us something about that particular situation. The effects of modernity and capitalism on the individual and traditional values are aptly analyzed and basic human emotions like love, loneliness, commitment and frustration are contemplated with a hard to match observation and tenderness. The little boy seems to verbalize the director's approach to film making: "We only understand half of everything because we can only see what's in front of us." and Yang's camera aptly shows us "the other side" of every situation. As a character says "with films, we experience many more lives than we actually can in one lifetime" and this film is a whole life experience in 3 hours.

I'd love to do a systematic investigation of every reflective shot in this movie. I can think of 10 stunning examples off the top of my head. In the director's comments track on the DVD you can hear Edward get noticeably excited when another reflective shot presents itself on screen. He points them all out, and it's true that the shots do seem to present themselves to the director. Although you must assume he had something to do with them, he confesses that it was magic that he discovered when he got to the location. Neither he nor I can explain what effect the superimposition of a night cityscape on a dark office space has on our understanding of the emotional world of the character sandwiched between the layers of light.

It seems there is magic at work all around. But it is not magic at all, as we learn from Mr. Ota's card trick -- merely attention. Maybe it's the reflection's ability to split out attention out into many streams of thought and quickly focus it back down that gives his scenes their vertiginous exhilaration. How else to explain the rush one feels from looking at a completely static shot where you can barely make out the actors?

He set out to make a film about family but I think he discovered he also wanted to make a film about life in Taipei. The reflections are the device that lets him make two movies at once. I think that's what is most special about each reflective shot. It is the instantaneous visual realization of an epic goal, and a reminder to the audience of both themes working in the movie.

His assuredness and gentleness astounds me.

This is without a doubt the best film of 2000, a masterpiece of sublety and understatement. It is long--just under three hours--but during that three hours, the entire range of human experience is covered. It is about life--that's it. But, to make a statement about life, you have to illustrate it with lives, and this Yang does exquisitely. There is a tragic undercurrent running through this film, and while I was watching it I thought of Thoreau's observation that "most men lead lives of quiet desperation." Yet, in spite of the travails the film's characters undergo, it is ultimately a work of affirmation. This is about as good as the art of cinema can get.

Admittedly, I was a little skeptical that this long and fairly slow-moving movie would be able to hold my attention throughout its 173 minute running time - how wrong I was to be skeptical! Yi Yi is a thoroughly captivating film that I enjoyed immensely, and I completely enjoyed every moment of it. The director's technique of filming a lot through windows and at wide angles gives it an almost voyeuristic feel, but this doesn't alienate the viewer, instead it gives the feeling you're watching real lives unfold, a kind of privileged 'fly on the wall' style, and the 'slice-of-life' term often used to describe Yi Yi is appropriate. The film manages to balance humor, sensitivity, and emotion. It's beautifully shot, sensitively directed, and incredibly well acted by all involved. It sounds like a cliche to say it, but it is one of those movies that has everything: cute kids, family dysfunction, reminisces of decisions made in the past, regret, love, hope, and beauty. It's an uplifting piece of filmmaking but also tinged with sadness, very human, and utterly absorbing.