Yi Yi

Yi Yi is beyond any doubt Edward Yang’s finest work, and with such impeccable works there’s always an abundance of reviews and analysis being made. I for one opt for the benches typically, but in this case the plays just don’t seem to be delivering successful results. Seeing as changes must be made, off the bench and into the game I go with fresh legs and a new formation. Here’s our new game plan having changed our starters; Yi Yi in my eyes is not a critique on modernization, capitalism, or a depiction of identity crisis, reflexive modernity, and uh, heck I’ve seen extensive articles about boredom being glamorized. Of course it is imperative to state the obvious, in MY eyes... Yi Yi is a director delving into his inner emotions and splattering them on the screen. Which feelings are explored? A few, and they’re quite common. It’s funny really, as humans we’ve evolved light years beyond any other species. Yet one bad day can cause our fragile minds to collapse. Our biggest weakness is the very thing that makes us so great. So let’s peruse upon these specific emotions beginning with; UNACCOMPLISHED The feeling of dissatisfaction is a theme that lingers throughout the film. We see it through the mother who realizes she’s living a bland and meaningless life upon saying it out loud, or the past lover who lives each day wishing N.J never left. Yet, where it really shines is through the Father whose lived for years working a job he detests heavily. Day after day he continues to loose interest not only in his work but in life as well. In all honesty, we’ve all experienced such a feeling at one point in our lives, maybe not to such lengths but regardless it weighs on you heavily. Edward Yang exploits this concept to his advantage. Showcasing characters whose painfully realistic emotions jump right through the screen and cling unto our subconscious. CURIOSITY/NAIVETY Raw innocence is only lived once, a virgin conscience’s demise lurks at the distance through curiosity. The unknown pokes at one’s emotions vigorously as we experience uncharted territory. Showcased through N.J’s children, we see two different stages of the unknown— childhood and youth. Both bearing their distinctive features of course. The little kid not being able to grasp the concept of individuality amongst each person, and the young girl facing hormonal awakenings and dealing with her young mind feeling remorse. A feeling that causes the lack of sleep and disassociation. Once again Edward Yang masterfully brings these emotions to life. I reiterate, the realism is utterly alluring and thought-provoking. HOPE The feeling of assurance is one we desperately cling unto once the opportunity is given. Such emotion can be experienced through all ages. The wife hoping Buddhism will help, the brother-in-law trying his luck with superstition, the little kid changing his feelings towards his nemesis (awaking a new emotion), the young girl finding closure and peace of mind. Last but not least, a rekindled emotion between N.J and his past love. ACCEPTANCE/REALITY Unfortunately hope for some is but a mere illusion. We see this sad reality through the mother, the brother-in-law, and between N.J and his past love. Once the curtain is lifted, yes the realization of the show being over can be a little overwhelming, yet somehow, acceptance soothingly caresses the pain. Honestly hats off to Edward Yang, what a masterpiece. A literal rollercoaster of emotions.