There’s a palpable directorial force that permeates every scene in Yi-Yi (A One and a Two), not the overbearing force of the "invisible protagonist" that the late Pauline Kael once attributed to auteurs like Bergman, but something infinitely more gentle that one hesitates to call it a ‘force’ at all. Like his movie, Edward Yang, the screenwriter and director, is a serene giant, at once formidable in size, but soft spoken to the point of self-effacement. Watching his movie, one gets the impression that Yang is everywhere and nowhere. His movie isn’t autobiographical, but every scene is realized with such precision that they could only come from snippets of Yang’s own life.
Go to the review