some parts reminded me yasujiro ozu's films and I liked beautiful dialogues between father and his ex girlfriend character...still my favourite movie of yang was bright summer day . Because in final section usage of music was forcing audiences into cry , whereas the notes that child have read in front of funeral would be effective without music .
"And I wonder why I wake up at all..." Probably my favourite quote in any film, and a nice journey taken during this film - Uneven and too sentimental and melodramatic with it's acting, but there are some impressive moments throughout this film. Should have spent more time on Yang Yang; what an interesting little dude =)
What some may call dense or slow-moving, I would call patient and contemplative in that every scene and sub-plot is delicately woven, and doesn't offer viewers instant gratification, but instead offers an opportunity for self-reflection. I think the quote "We live three times as long since they invented movies" perfectly sums up this film's objective.
Masterful filmmaking. Edward Yang's lengthy chronicle of a Taiwanese family going through regular daily life is an excellently told film. Many characters make up the film's narrative and each brings something brilliant to the table, whether it be emotional trauma, funny retribution, or finding love, Yi Yi excellently captures a few months in the life of a family. Comparable to Ozu's Tokyo Story.
An understated, natural depiction of real life without melodrama or pretension. I just wish it didn't include so many love triangles. Although - and it follows - the female characters are fully developed (besides maybe Min-Min), their emotional breakdowns over men get tiring. Also the juxtaposition between NJ/Sherry and Ting-Ting/Fatty was a little heavy-handed. Side-note: Yang-Yang is the cutest.
Absolutely incredible. One of the most beautiful films I've ever seen. The way Yang handles multiple stories and characters without it ever feeling exploitative will be something in need of studying for years to come. His static camera is reminiscent of Ozu and yet it moves even beyond the old master's craft, adapting to the new bustling world in all it's fractured symmetry.
Yang is an all-time great but Yi Yi is his autistic stepchild. Regressing back to Ozu’s penchant for family dynamics but overstuffed with stock characters, obtuse melodrama and even a maudlin score, it "does too much" at being “about life” via mainstream sensibilities to appease the “universal audience” that it seems utterly inconsequential to anyone barely alert of such conventional cinematic manipulations.
Yi Yi is a film about cinema itself and as Yang-Yang suggests, the job of a photographer (a filmmaker?) is to provide us with perspectives we cannot find on our own. Yi Yi is all about balancing the pursuit of the material and the spiritual, and how difficult modern urban life makes that quest; but also how, once we gain perspective, we can be satisfied just in the trying.
An endearing slice-of-life that seared right through every 'age-crisis' that is bound to happen in everybody's lives, one way or another, and how to not find the 'answer', because there isn't even a question. Yi Yi is a work of reflection in both sense of the word, since there are so many mirrors and reflective surfaces incorporated into its gorgeous shots.