这篇影评是我从亚马逊上找到的，全文英文，我试着用自己拙劣的英语水平翻译了一下。有能力的请直接看英文，忽略掉文末的中文翻译。

Cinema can be so honest, life can be so simple and moving

by Toshifumi Fujiwara fr Amazon US

If you are looking for an exciting, exotic depiction of Chinese culture, or want to feel some catharsis by watching how the simple, good hearted Chinese people are surviving through their economical difficulty or the oppression of their cultural tradition, don't bother about this one. But if you are an intelligent audience who is looking for a true contemporary cinema, a film that talks about the kind of life you yourself are living, a sincere piece of art that deals with your own problems that you are facing every day, a cinema that explores the meaning of our own lives, you must see this film, and most certainly will be deeply moved. The film depicts the life of an ordinary, contemporary urban based family that you can find in every big cities around the world, New York, Los Angeles, Paris, Berlin, London, Tokyo... or in Taipei, the modern capital of a contemporary Taiwan. Edward Yang's camera observes these people with love and compassion, yet without falling into melodrama. The film begin with a typical Chinese wedding, where everything is supposed to be happy, yet Yang focuses on a more negative side of it; the groom's overly cheerful attitudes are only the reverse of his insecurity, for instance. From this wedding begins the story of the family; the groom's mother suddenly taken ill, and her daughter's family dealing with every-day problems. The father runs a computer company with his friends, but it is facing bankruptcy. The children's lives goes on as well. The daughter who goes to high school experiences her first love. Her 8 years old younger brother is starting to understand what life is. The mother, asides from her job in a office, has to take care of her ill mother now in coma. Following her doctor's instruction, the family members start to talk to her, because the doctor says even if she can't react, she still can hear and that would help her recovery. But what can you talk to somebody who doesn't respond? The mother suddenly realizes that she has nothing to say, that her life is empty. To save his company, the father flies to Japan to meet a Japanese game programer. This person tells him, "Why are we always afraid of 'the first time'? When we wake up, every morning is the beginning of a new day". This word gives him an inspiration to see his life in a completely new perspective. The title means "one, one" in Chinese, which represents simplicity. "Simplicity" is the key-term of both the style and the story of the film; the simplicity of the quiet, static long takes that allows Edward Yang, one of the truly greats among contemporary cinema, to capture the complexity of life, and the simplicity of philosophy with which we can re-discover what life is really all about. Edward Yang, undoubtly the greatest talent in contemporary Chinese language cinema (and of the world) radically departs from the frenzy camera movements of his two former comedies about the consumer-driven materialist contemporary world, MAHJONG and A CONFUCIAN CONFUSION. It is also quite different from the harsh, cold, modernist style of his highly appreciated early masterpieces such as TAIPEI STORY, THE TERRORIZERS and the highly acclaimed A BRIGHTER SUMMER DAY. Yet all the thematic elements of his earlier works culminates in this film, for "life" involves every thing there is in our society and our world. YI-YI is about consumerism, about self doubt, about honesty, about death, about love, about family, and a true freedom to live that is waiting for us in this world. And more than that, this film is truly about life. YI-YI is an undisputed masterpiece. Probably the greatest achievement Yang has ever achieved, the best film of his fruitful filmography, and one of the most truthful, sincere film coming out from not only the Chinese language cinema, but from the contemporary world cinema. Where ever the film was screened, the audience are moved into tears. Not because the film is a well-made tear jerker (in fact, there are almost no tragic elements in its story), but because we are touched at the very depth of our heart.

我的中文翻译如下：

电影可以如此诚实，而生活，是如此简单和动人

作者：Toshifumi Fujiwara

来源：亚马逊美国购物评论

如果你是在寻找一部令人兴奋的、描述中国文化的异域风情的，或者想通过观看那些简朴的、好心肠的中国人在严峻的经济压迫下生存，被传动文化压迫，以此来获得情感上的宣泄，那么，请不要观看这样一部电影。

但是，如果你是一个聪明的观众，在寻找一部真正的当下的电影，一部讨论你的生命、生活的可能的电影，一部真诚的记录你日常生活中会遇到的问题的艺术作品，一部探寻生活的意义的电影，那么，你一定要看这部电影，而且，很有可能，你将会被深深触动。

这部电影讲述了平常的、当代都市下的，你可以从每个大城市下找到的类似的家庭，比如纽约、洛杉矶、巴黎、柏林、伦敦、东京...或者台北，现代台湾最具代表的城市。

杨德昌的镜头对准了这些人，包含着爱与同情，但是，并没有堕入俗套的爱情故事。这部电影开始于一部典型的中国式婚礼，这一切本应该是欢喜的。但是，杨德昌聚焦到了一个更加消极的一面。新郎过度的欢喜恰恰反应了他内心的不安，举例而言。从这场婚礼开始了有关家庭的故事；婆婆突然生病，妈妈一家处理日常问题。爸爸和他朋友一起经营着一家电脑公司，但是正面临破产。孩子们的生活也在继续。上高中的女儿经历了她的初恋。8岁大的儿子开始理解什么是生活。妈妈下班后，不得不照顾昏迷的婆婆。遵循医生的指导，家里每个人每天开始跟婆婆讲话，因为医生说她虽然不能做出反应，但是她还是听得见的，这样有助于她的康复。但是，一个人能对另一个无法回话的人说些什么呢？

妈妈忽然意识到她对婆婆没有什么可说的，她的生活，一片空白。

爸爸为了拯救公司，他飞去日本，会见一个日本游戏开发者。这个人告诉他，“为什么我们总是害怕‘第一次’？我们每天醒来，每个早上都是新的一天的开始”。这些话给了他一种全新审视自己生活的灵感。

这部电影的名字叫「一一」，意味着简洁。“简洁”同时是这部电影的风格和故事的核心；静止、悄声的长镜头的简洁性，使得杨德昌，这位当代真正的伟大导演，可以抓住生活的复杂性，同时，至简哲学可以让我们重新发现生活的本来面目。

杨德昌，毫无疑问是当代华语电影乃至世界电影中，最具才华的导演。这部电影完全区别于此前他的两部电影《麻将》和《独立时代》的夸张的镜头移动，关于现代社会消费驱动的物质主义。这部电影也远远不同于他曾获得高度评价的描写冲击、冷酷的大师级作品，如《青梅竹马》《恐怖分子》，以及《牯岭街少年杀人事件》。然而，所有的这些喜剧元素都融合到了这部电影中，因为，生活牵连着这个社会和世界的一切一切。《一一》描写了消费主义、自我怀疑、诚实、死亡、爱情、家庭，以及一个真正的等待着我们去生活的自由国度。不仅如此，这部电影是真实的在描写生活。《一一》是一部无可争辩的大师级作品。很可能这是杨德昌取得的最伟大的成就，他执导的最具成果的电影，不仅是当代华语电影，也是世界电影中一部最真实、真诚的作品。不管这部电影在哪个地区上映，观众都会感动落泪。并不少因为这部电影有刻意煽情的情节（事实上，这部电影中几乎没有任何戏剧元素在），而是因为我们被触及了内心深处。