“We live three times as long since man invented movies.”
First movie watched in 2017. Interweaving life stories of family members during the year grandma spent in a coma, with mirrors of behaviors and situations across generations.
NJ and daughter Ting-Ting with the happy couple:
NJ is Nien-Jen Wu (cowrote Hou Hsiao-Hsien films including City of Sadness and The Puppetmaster). He’s a reasonable, middle-aged, frowny-faced guy disillusioned with his job. He bumps into an ex, Sherry, at the wedding, then arranges to meet her in Japan while courting software developer Ota (Issei Ogata, the emperor in The Sun) for work. Having casual conversations with Ota about music and spending his days with Sherry (Su-Yun Ko also played a lead male character’s Tokyo ex in Taipei Story) gives him nostalgia flashbacks of first love, while his daughter Ting-Ting is home dealing with similar issues firsthand.
Ting-Ting starts the movie feeling guilty that she might be responsible for grandma’s stroke, and soon adds more typical teenage problems into the mix, as she picks up her new neighbor Lili’s barely-ex-boyfriend Fatty, but the two of them are nervously unsure how to be in a romantic relationship (and incidentally, he later murders the neighbor’s mom’s boyfriend).
The neighbor with Fatty, who is not fat:
Min-Min is the mom of the family (Elaine Jin, also a mom in A Brighter Summer Day), has a breakdown while trying to talk to her comatose mom then disappears to a meditation retreat for the rest of the movie. And young son Yang-Yang is a slightly offbeat kid (spotted in his room: Astro Boy, Mickey Mouse, Batman, Pikachu… and the Hindenburg) who takes photos of the backs of people’s heads (a naïve, questioning photographer/observer who shows people things they can’t see for themselves, named after the film’s director, hmm).
Yang-Yang couldn’t deal with the wedding reception food:
Newlywed astrology nut A-Di is Min-Min’s brother, can’t keep his financial or romantic act together, with his longtime ex-girlfriend Yun-Yun showing up at the wedding and baby shower and making scenes. His wife Xiao Yan threatens to leave then comes back thinking A-Di has attempted suicide – he says he just fell asleep in the tub with the gas on. And I think A-Di’s money is stolen by business partner Piggy (yes, there’s a Piggy and a Fatty).
Yang won best director at Cannes, and died of cancer seven years later without producing a follow-up, which was rumored to be an animated Jackie Chan feature.
The New Taiwan Cinema was a predominantly urban phenomenon, the better to dramatize the rapacious speed of cultural upheaval. And Yang, Hou, and the slightly younger, Malaysian-born Tsai have employed, each in his own unique way, the sights, textures, rhythms, and social configurations of city living to devastating effect … Yang has set his city symphonies in a variety of emotional keys — the doleful lament of Taipei Story, the gridlike coolness of The Terrorizer, the comic hysteria of A Confucian Confusion, the carefully modulated fury of Mahjong. In Yi Yi, he brings all of these moods together, never allowing any one of them to take precedence over another. Which is to say that this is a grand choral work, with a panoptic majesty.