| Photos (see all 20 | slideshow) | Videos |
| 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: | |||
| Yiwen Chen | |||
| An-an Hsu | |||
| Yue-Lin Ko | ... | The Soldier (as Ke Yulun) | |
| Kai-Li Peng | ... | Cellist in cello concert scene | |
| Congsheng Tang | ... | Blue Shirt | |
| Edward Yang | ... | Pianist in cello concert scene | |
Directed by | |||
| Edward Yang | |||
Writing credits(in alphabetical order) | ||
| Edward Yang | written by | |
Produced by | |||
| Shin'ya Kawai | .... | associate producer | |
| Osamu Kunota | .... | associate 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 | |||
| Peng | |||
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) | |
Other crew | |||
| Tony Rayns | .... | subtitles: English | |
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| La historia oficial | Come See the Paradise | Die Blechtrommel | Okoge | Giant |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Taiwan section |
| Add this title to MyMovies |
This movie is a beautiful piece of art. Every shot of the movie is like a painting in its own right. Hats off to cinematographer Wei-han Yang for getting so many splendid images on film. From his serene reflective shots against a city nocturnal background, to innovative bird eye-view shots, to neat mirror shots, to the perspective of the bedridden grandmother in a coma, to cars passing by in front of the actors, to gorgeous corporate buildings... everything on camera was meticulously thought out.
Director Edward Yang uses this visual candy diligently and incorporates it nicely into his narrative. His script is very poetic and allows for a lot of reflective pause... which is, you've guessed it, supported by silent stunning images. The characters feel very real and their problems and concerns move us. The little boy is simply adorable and his perspective on life is quite refreshing. The dialogue is rich and intelligent and if you listen carefully you'll understand why this movie is so long... But the length does not drag the movie out. Rather it allows us to think and to appreciate. There is enough material in this movie (both words and images) to have anyone musing for days if he so desires.
The ending of the movie is very well done and you don't really know if you feel like laughing or crying at that point, but you certainly know that you have just witnessed an amazing movie, a movie without proper description. Because like Yang chose to do, I should just be silent and let you enjoy.