Yi Yi (a short write up) / 2021

The window and glass reflection motif Edward Yang adopted on set in his final feature and magnum opus, “Yi Yi” (2000) is something I would never have thought of using. However Yang places it in this 180 minutes masterpiece with ease and perfect pacing, all of them hit the right spots.

Reflections add a dimension to the image, it gives a double or even triple perspective and context of a scene coupled with a long shot it can show so much.

The film uses long static long shots as it’s master, capturing the most intimate and subtle moments from afar. It brings out the nuances in the performances and in a sense respects the craft of acting, not cutting away from emotion or around it.

When Yang uses long shots, it preserves the privacy of the characters. The existence of the viewer will not be felt, something so intimate and private he wouldn’t want to intrude. He believes that it’s more comfortable for the viewer to watch from a distance.

This is only one of the many motifs and metaphors Yang uses in this feature.