The Postmodern Life of My Aunt (Yi ma de hou xian dai sheng huo) Reviews

  • Aug 16, 2015

    Inconsistent & disjointed.

    Inconsistent & disjointed.

  • Feb 27, 2010

    I like the beautiful combination of various colours in the film. As the story is tragic comedy, the ending makes me sad. But overall it is a really good movie.

    I like the beautiful combination of various colours in the film. As the story is tragic comedy, the ending makes me sad. But overall it is a really good movie.

  • Jan 18, 2010

    I thought this is a Comedy but turns out there's not much gags in the plot. It's a funny pcs anyway. Gaowa Siqin is really a great actor, she fully demonstrated the mixed feelings of 'Aunt who was once a rebellious young woman and now turned to a middle-aged old-school, the world has changed and she is running behind.

    I thought this is a Comedy but turns out there's not much gags in the plot. It's a funny pcs anyway. Gaowa Siqin is really a great actor, she fully demonstrated the mixed feelings of 'Aunt who was once a rebellious young woman and now turned to a middle-aged old-school, the world has changed and she is running behind.

  • Jan 14, 2010

    Not a very successful one. The story is not touching and the complicated feeling of Gaowa Siqin was not potraited well. The stroy is simply too fake. And it is not a typical Ann Hui film.

    Not a very successful one. The story is not touching and the complicated feeling of Gaowa Siqin was not potraited well. The stroy is simply too fake. And it is not a typical Ann Hui film.

  • Sep 03, 2009

    Ann Hui is considered as one of the most important contemporary Hong Kong directors, but it's only in terms of her original viewpoint to a female and good sense of choosing topics, and her films are often quite boring, honestly. This film disappoints me more than usual since my expectation was high. She features even more first-class casts and crews than usual - Gaowa Siqin (a great actress of mainland China), Yun-Fat Chow, Wei Zhao, Lik-Wai Yu (cinematographer often works with Zhangke Jia), and Joe Hisaishi (the most popular film composer of Japan), etc. - and how can the film be this boring and pointless? All those elements definitely does not match to the content and the theme of the film, and it gives you sense of uneasy throughout the film. For example, Yun-Fat Chow and Wei Zhao are definitely miss-casting since it adds unnecessary and unwanted meanings to their characters (they are just attractions to more audiences), and Hisaishi's score (music itself is good) does not fit to the film at all. It sets in Shanghai, dealing with aging of a woman, but Hui does not use the big city to emphasize the isolation of the heroin well - in other words, her direction is pointless... Gaowa Siqin's performance is pretty much only highlight of the film.

    Ann Hui is considered as one of the most important contemporary Hong Kong directors, but it's only in terms of her original viewpoint to a female and good sense of choosing topics, and her films are often quite boring, honestly. This film disappoints me more than usual since my expectation was high. She features even more first-class casts and crews than usual - Gaowa Siqin (a great actress of mainland China), Yun-Fat Chow, Wei Zhao, Lik-Wai Yu (cinematographer often works with Zhangke Jia), and Joe Hisaishi (the most popular film composer of Japan), etc. - and how can the film be this boring and pointless? All those elements definitely does not match to the content and the theme of the film, and it gives you sense of uneasy throughout the film. For example, Yun-Fat Chow and Wei Zhao are definitely miss-casting since it adds unnecessary and unwanted meanings to their characters (they are just attractions to more audiences), and Hisaishi's score (music itself is good) does not fit to the film at all. It sets in Shanghai, dealing with aging of a woman, but Hui does not use the big city to emphasize the isolation of the heroin well - in other words, her direction is pointless... Gaowa Siqin's performance is pretty much only highlight of the film.

  • Mar 15, 2009

    Ann Hui shows some directing skills here as she gradually turns this light comedy into a tragedy. And as the mood changes into a more sombre tone, so does our perception of the pic's main character, the aunt of the movie's title, from unambiguously righteous to more complex and human. Of course, it wouldn't be Ann Hui without social issues, here represented by the pursuit of riches, that new Chinese virtue. By casting Chow Yun Fat as the scoundrel Pan Zhichang Ann Hui also paved the way for a great comeback for Babyface, an opportunity now sadly lost judging by his subsequent carreer choices. Hui works with a great colour palette and adds some arthouse cred and look to her movie by employing Jia Zhang Ke's DP Yu Lik Wai.

    Ann Hui shows some directing skills here as she gradually turns this light comedy into a tragedy. And as the mood changes into a more sombre tone, so does our perception of the pic's main character, the aunt of the movie's title, from unambiguously righteous to more complex and human. Of course, it wouldn't be Ann Hui without social issues, here represented by the pursuit of riches, that new Chinese virtue. By casting Chow Yun Fat as the scoundrel Pan Zhichang Ann Hui also paved the way for a great comeback for Babyface, an opportunity now sadly lost judging by his subsequent carreer choices. Hui works with a great colour palette and adds some arthouse cred and look to her movie by employing Jia Zhang Ke's DP Yu Lik Wai.

  • Veronique K Super Reviewer
    Feb 14, 2009

    since wwi, the orient, especially the far east, has become the colonial prey of occiental domination, and frankly such aggression has only been deepened by the progress of globalization(from material level to ideological standard) which is a beauitified utopian term of cultural assimilation, to diminish the tribal characteristic then create a homogenic mode for people in various ethnicities. despite the orient does possess great exotic fascination over the occient, but merely in a superficial level, which manifests in various highly popularized yellow-face movies with oriental themes like kung-fu, samurai, geisha. (i mislike to mention samurai and geisha becuz it's jap, but to the western mass, what's so different between jap, korean and chinese? just like my compatriots ignorantly dismiss every caucasian as american.) in the international market, asian directors are eager to make period pieces like red cliff, crouching tiger and hidden dragon, the curse of gold flower...etc, but they're campy ridicules to gratify audience's oriental dreams. the term "multiculturalism" arised around the 60s with the raging countercultural phenomenon of beat generaion, worship of zen and orientalism as the apparatus against the conventional anglo-saxon culture, so the point is they just desire to revolt against the orthodox by showing off their fascination over the orient, such as jack kerouac has acclaimed himself as buddhist...such rebel spirit still exists nowadays, just like great many of my hipster flixster pals are fanatic to foreign, non-american movies and some hong-kong old martial movies made by the shaw company to flaunt how cool and unique they're. honestly it leaves me callous because none of those oriental movies has manifested a bit of authenticity but magnify its eccentricity to serve audience's wanders of curiosity as if we're freaks and monsters for demonstrations. "the postmodern life of my aunt" is the only chinese movie i've seen recently, which really contains three-dimensional protagonists and genuine paradox of cultural reflections, it's about the disillusion of a middle-age woman's metropolitan aspiration, how she decays and awakened from a false fancy of intellectual smugness. i feel awkward to elucidate further since the appreciated audience belongs to those who identify themselves as chinese, those with great absorption of its cultural sophistication, or everything might appear un-comprehesible and drab to the outsiders. this movie doesn't sell in taiwan and hong-kong despite the residents are all chinese by blood, the cultural identification has patheticaly disintegrated. letting alone chinese americans or any other dispersed chinese all over the world. (but it's a smashing hit in mainland china.) also none of my flixster pals has seen it or want to see it, perhaps i should feel complacently consoled by this lack of popularity because it means its exclusiveness, and every country should have movies like this as cultural preservations. just like "creature from the black lagoon" is an ultimte american b classic for kids who grew up watching every saturday's monster flicks on tv. to non-american foreigners, it might appear laughably obsolete.

    since wwi, the orient, especially the far east, has become the colonial prey of occiental domination, and frankly such aggression has only been deepened by the progress of globalization(from material level to ideological standard) which is a beauitified utopian term of cultural assimilation, to diminish the tribal characteristic then create a homogenic mode for people in various ethnicities. despite the orient does possess great exotic fascination over the occient, but merely in a superficial level, which manifests in various highly popularized yellow-face movies with oriental themes like kung-fu, samurai, geisha. (i mislike to mention samurai and geisha becuz it's jap, but to the western mass, what's so different between jap, korean and chinese? just like my compatriots ignorantly dismiss every caucasian as american.) in the international market, asian directors are eager to make period pieces like red cliff, crouching tiger and hidden dragon, the curse of gold flower...etc, but they're campy ridicules to gratify audience's oriental dreams. the term "multiculturalism" arised around the 60s with the raging countercultural phenomenon of beat generaion, worship of zen and orientalism as the apparatus against the conventional anglo-saxon culture, so the point is they just desire to revolt against the orthodox by showing off their fascination over the orient, such as jack kerouac has acclaimed himself as buddhist...such rebel spirit still exists nowadays, just like great many of my hipster flixster pals are fanatic to foreign, non-american movies and some hong-kong old martial movies made by the shaw company to flaunt how cool and unique they're. honestly it leaves me callous because none of those oriental movies has manifested a bit of authenticity but magnify its eccentricity to serve audience's wanders of curiosity as if we're freaks and monsters for demonstrations. "the postmodern life of my aunt" is the only chinese movie i've seen recently, which really contains three-dimensional protagonists and genuine paradox of cultural reflections, it's about the disillusion of a middle-age woman's metropolitan aspiration, how she decays and awakened from a false fancy of intellectual smugness. i feel awkward to elucidate further since the appreciated audience belongs to those who identify themselves as chinese, those with great absorption of its cultural sophistication, or everything might appear un-comprehesible and drab to the outsiders. this movie doesn't sell in taiwan and hong-kong despite the residents are all chinese by blood, the cultural identification has patheticaly disintegrated. letting alone chinese americans or any other dispersed chinese all over the world. (but it's a smashing hit in mainland china.) also none of my flixster pals has seen it or want to see it, perhaps i should feel complacently consoled by this lack of popularity because it means its exclusiveness, and every country should have movies like this as cultural preservations. just like "creature from the black lagoon" is an ultimte american b classic for kids who grew up watching every saturday's monster flicks on tv. to non-american foreigners, it might appear laughably obsolete.

  • Feb 13, 2009

    It was getting way better when Zhao Wei appeared. Great performance by all cast and the cinematography was really good. I really enjoyed watching this movie.

    It was getting way better when Zhao Wei appeared. Great performance by all cast and the cinematography was really good. I really enjoyed watching this movie.

  • Jan 17, 2009

    Wonderful acting by CHOW Yun Fat and Siqin Gao Wa. Scriptwriting is brilliant with humorous touch. Ann Hui proves that middle-aged actress without gorgeous look can glow and tell a touching story.

    Wonderful acting by CHOW Yun Fat and Siqin Gao Wa. Scriptwriting is brilliant with humorous touch. Ann Hui proves that middle-aged actress without gorgeous look can glow and tell a touching story.

  • Dec 16, 2008

    Briliant movie. I knew the movie would be awesome after reading the book. Si qin gao wa and Yun-fat chou's acting is a plus. Some people may think its boring, but that's the point of this movie, we are not talking about those super heroes nor fantastic coincidences, we are talking about normal people, losers, daily lives...if you think you cant enjoy this, it only means you cant enjoy your life. Great movie of this year.

    Briliant movie. I knew the movie would be awesome after reading the book. Si qin gao wa and Yun-fat chou's acting is a plus. Some people may think its boring, but that's the point of this movie, we are not talking about those super heroes nor fantastic coincidences, we are talking about normal people, losers, daily lives...if you think you cant enjoy this, it only means you cant enjoy your life. Great movie of this year.