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Yi yi
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Yi Yi (2000) More at IMDbPro »Yi yi (original title)

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Edward Yang (written by)
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Release Date:
20 September 2000 (France) See more »
Each member of a family in Taipei asks hard questions about life's meaning as they live through everyday quandaries... See more » | Add synopsis »
Plot Keywords:
14 wins & 11 nominations See more »
User Reviews:
Soap opera in excelsis See more (88 total) »


  (in credits order)
Nien-Jen Wu ... N.J.
Elaine Jin ... Min-Min
Issei Ogata ... Ota
Kelly Lee ... Ting-Ting
Jonathan Chang ... Yang-Yang
Hsi-Sheng Chen ... Ah-Di
Su-Yun Ko ... Sherry
Shu-shen Hsiao ... Hsiao Yen
Adriene Lin ... Li-Li
Pang Chang Yu ... Fatty
Ru-Yun Tang ... NJ's Mother
Shu-Yuan Hsu
Hsin-Yi Tseng ... Yun-Yun
rest of cast listed alphabetically:
Josephine A. Blankstein (as An-an Hsu)
Yiwen Chen
Lawrence Ko ... The Soldier (as Yulun Ke)
Tzu-chieh Miao
Kai-Li Peng ... Cellist in cello concert scene
Tsung Sheng Tang ... Blue Shirt
Edward Yang ... Pianist in cello concert scene
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Directed by
Edward Yang 
Writing credits
(in alphabetical order)
Edward Yang  written by

Produced by
Shin'ya Kawai .... associate producer
Osamu Kunota .... associate producer
Yoshiko Okura .... assistant producer
Michiyo Satô .... assistant producer
Naoko Tsukeda .... associate producer
Wei-yen Yu .... associate producer
Original Music by
Kai-Li Peng 
Cinematography by
Wei-han Yang 
Film Editing by
Bo-Wen Chen 
Production Design by
Makeup Department
Hua Kao .... special makeup effects artist
Second Unit Director or Assistant Director
Yu-Hui Wang .... assistant director
Shih-Ping Yang .... assistant director
Sound Department
Du-Che Tu .... sound (as Du-Chih Du)
Camera and Electrical Department
Lung-Yu Li .... gaffer
Other crew
Tony Rayns .... subtitles: English

Production CompaniesDistributors
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Additional Details

Also Known As:
"Yi yi" - Taiwan (original title)
"Yi Yi: A One and a Two..." - International (English title)
See more »
173 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Issei Ogata's English dialog was re-written and even improvised during the shooting by Ogata himself. Yang wanted to have his Japanese character speaking realistically, not in the stereotypical manner Japanese characters in English-speaking films often do.See more »
Yang-Yang:I'm sorry, Grandma. It wasn't that I didn't want to talk to you. I think all the stuff I could tell you... You must already know. Otherwise, you wouldn't always tell me to 'Listen!' They all say you've gone away. But you didn't tell me where you went. I guess it's someplace you think I should know. But, Grandma, I know so little. Do you know what I want to do when I grow up? I want to tell people things they don't know. Show them stuff they haven't seen. It'll be so much fun. Perhaps one day...See more »
Movie Connections:
Toccata, BWV 914See more »


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10 out of 15 people found the following review useful.
Soap opera in excelsis, 29 April 2002
Author: jandesimpson from United Kingdom

I don't think the term "soap opera" existed before the widespread growth of TV when it started to be used to define a genre of entertainment that dramatised the everyday lives of a cross section of interrelated characters that could theoretically go on for ever. The formula for the success of the longest running, the British "Coronation Street" and "Eastenders" for instance, is self-identification, the depiction in a heightened dramatic form of the sort of problems we all live with, bringing a degree of comfort and assurance to the audience watching a fictionalisation of its collective angst. When we liken a finite form such as a film to "soap" we tend to use the term in a derogatory sense isofar as we see it as dramatising trivia. However we must be careful about this as there have been examples of very high cinematic art that conform to the conventions of soap opera, "The Best Years of our Lives" for instance in the '40s, the German "Heimat" a few years back and more recently Edward Yang's "A One and a two". It is that very element of everyday anxiety viewed with such perception and truth that makes the Taiwanese film so compelling. Yang has moved away from the youth violence of "A Brighter Summer Day". His middle class family is involved with commerce and careers. However noone has an easy time of it. Each member of the family is plagued in their different ways by their inadequacy in coping with the infirmity of their eldest member. At the same time the father is troubled by his work and the complication of the reappearance in his life of a woman he met many years ago, his wife is seeking spiritual advice from a Buddhist guru, his teenage daughter becomes the butt of romantic jealousy from the girl next door. But it is the 8 year old son who seems most able to come to terms with the vicissitudes of life. He survives the spiteful taunts of his little girl peers and a bullying schoolmaster. His defence is an enquiring mind which he applies to his surroundings with a Kaspar Hauser fortitude and innocence. We already know that if any of these characters will be a survivor it is this youngest. Yang shoots the film with an almost Ozu-like purity, preferring long held shots rather than camera movements, although unlike Ozu he does not make a fetish of this. Often we see action through windows but not at a distance as in "Rear Window" so everything has an immediacy. It will need a few more viewings to assess whether "A One and a Two" is on the same level as Yang's earlier "A Brighter Summer Day". At the moment something tells me that is does not quite measure up to that savage masterpiece. Its very gentleness could be the reason, although I recognise this is hardly a valid argument. After three viewings it remains for me a rather elusive work, compelling in its way but curiously difficult to evaluate.

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What does Yi Yi mean? amaryllis0201
Too long and too boring mtkane209
Reminded of Kieslowski work pedromvu
Song played during ending credits Fly_Pierre
Actors who played Ting-Ting and Yang-Yang moiestatz
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