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Audio commentary by writer-director Edward Yang and Asian-cinema critic Tony Rayns
Video interview with Rayns about Yang and the New Taiwan Cinema movement
U.S. theatrical trailer
Original English subtitle translation by Yang and Rayns
PLUS: A booklet featuring an essay by film writer Kent Jones and notes from the director
The movie is rich with well developed characters and subplots that justify its three hour length. Yet in the course of all the seemingly tumultuous events that take place, little changes in the long term once the credits roll. But then, everything has changed; the movie begins with a wedding, tosses in a birth in the middle, and ends with a funeral. In between all these greater moments are the smaller though no less important things in life that almost every one of us can relate to at some level; love lost, regret, guilt, second chances, self-expression, happiness, sadness. The movies ambitions seem almost epic until you realize that there is nothing 'epic' about this family and its interactions. That is where the magic of this film really lies. Cultural differences don't matter here; you can always find a way to relate to Yang's characters through their common humanity. For many, we see emotional reservation, but Yang is able to expose even these characters through their confessions to their grandmother, who is comatose after a stroke. And then there is Yang Yang, the little boy of the family who is able to expose the nature of truth and exploration in a way only a little boy could.
I suppose that the thing that I enjoyed most about this film is that, even after seeing it a few days ago, I grow to appreciate it more, even as I write this review. Yi Yi is just an amazing film, perhaps the best ever made about a family, but to classify it as such is wrong. The movie is really a mirror; it is a beleivable, honest reminder of how life can be wonderful, and a pain, all at the same time.